* Glossary: (lilypond/music-glossary). Glossary of music terms.
@end direntry
-@ifnottex
-@node Top
-@top Music Glossary
-@end ifnottex
-
-
-@ifhtml
-This document is also available in
-@uref{source/Documentation/user/music-glossary.pdf,PDF}
-and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
-@end ifhtml
-
@titlepage
@title Music Glossary
@author Christian Mondrup @c Original author of LilyPond glossary
@c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
@c Updates to the German translation by Till Rettig, 12/07
-Copyright @copyright{} 1999--2007 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
@omflanguage English
@end ignore
+@ifnottex
+@node Top
+@top Music glossary
+@end ifnottex
+
@ifnottex
-This glossary was brought you by
-
-@multitable {Jan Nieuwenhuizen} {Original glossary of GNU music project, French glossary,}
-@item Adrian Mariano @tab Italian glossary,
-@item Bjoern Jacke @tab German glossary,
-@item Christian Mondrup @tab Original author of LilyPond glossary, Danish glossary,
-@item David González @tab Spanish glossary,
-@item François Pinard @tab Original glossary of GNU music project, French glossary,
-@item Han-Wen Nienhuys @tab Dutch glossary,
-@item Heikki Junes @tab Finnish glossary translations,
-@item Jan Nieuwenhuizen @tab Dutch glossary,
-@item Kurtis Kroon @tab English glossary,
-@item Mats Bengtsson @tab Swedish glossary,
-@item Neil Jerram @tab English glossary translations.
-@end multitable
+@ifhtml
+@ifclear bigpage
+This document is also available as a
+@uref{source/Documentation/user/music-glossary.pdf,PDF} and as
+@uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
+@end ifclear
+@ifset bigpage
+This document is also available as a
+@uref{source/Documentation/user/music-glossary.pdf,PDF} and as a
+@uref{source/Documentation/user/music-glossary/index.html,HTML indexed multiple pages}.
+@end ifset
+@end ifhtml
+
+This glossary was brought you by:
+
+@itemize
+
+@item @b{Christian Mondrup}: Original author of LilyPond glossary, Danish,
+@item @b{François Pinard}: Original glossary of GNU music project, French,
+
+@item @b{Han-Wen Nienhuys}: Dutch,
+@item @b{Jan Nieuwenhuizen}: Dutch,
+
+@item @b{Neil Jerram}: English,
+@item @b{Kurtis Kroon}: English,
+
+@item @b{Heikki Junes}: Finnish,
+
+@item @b{Bjoern Jacke}: German,
+
+@item @b{Adrian Mariano}: Italian,
+
+@item @b{David González}: Spanish,
+
+@item @b{Mats Bengtsson}: Swedish,
+
+@end itemize
+
+with additional contributions: thanks to all who have contributed.
+
+@ignore
+
+The list is rather long ...
+
+@itemize
+
+@item Danish:
+@itemize
+@item Rune Zedeler, @emph{pace}
+@item Eyolf Østrem
+@end itemize
+
+@item Dutch:
+@itemize
+@item Alard de Boer
+@end itemize
+
+@item English:
+@itemize
+@item Trevor Bača
+@item Trevor Daniels
+@item Andrew Hawryluk
+@item Ian Hulin
+@item Kieren MacMillan
+@item Patrick McCarty
+@item Ralph Palmer
+@item Carl D. Sorensen
+@item Anh Hai Trinh
+@end itemize
+
+@item Finnish:
+@itemize
+@item Risto Vääräniemi
+@end itemize
+
+@item German:
+@itemize
+@item Orm Finnendahl
+@item Reinhold Kainhofer
+@item Werner Lemberg
+@item Till Rettig
+@item Thomas Scharkowski
+@end itemize
+
+@item Italian
+@itemize
+@item Andrea Valle
+@end itemize
+
+@item Spanish
+@itemize
+@item Francisco Vila
+@end itemize
+
+@item Swedish
+@itemize
+@item Simon Dahlbacka
+@end itemize
+
+@end itemize
+@end ignore
+
@*
-Copyright 1999--2007 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
For more information about how this fits with the other
documentation, see @rlearning{About the documentation}.
-@shortcontents
@c arrowref
@macro aref{word}
* Pitch names::
@end menu
+
@node Musical terms A-Z
@chapter Musical terms A-Z
@item FI - Finnish
@end itemize
+
@menu
* A::
* a due::
* accidental::
* adagio::
* al niente::
+* alla breve::
* allegro::
* alteration::
* alto::
* C clef::
* cadence::
* cadenza::
+* caesura::
* canon::
* cent::
* central C::
* 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::
* movement::
* multi-measure rest::
* natural::
-* neighbour tones::
+* neighbor tones::
* ninth::
* non-legato::
* note::
* scordatura::
* score::
* second::
+* semibreve::
* semitone::
* seventh::
* sextolet::
@end itemize
@seealso
-
-@ref{Pitch names}
+@ref{Pitch names}.
@node a due
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+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
-
-@ref{Pitch names}
+No cross-references.
@node accelerando
S: accelerando,
FI: accelerando, kiihdyttäen.
-[Italian: @q{speed up, accelerate}.]
+[Italian: @q{speed up, accelerate}]
Increase tempo
+@seealso
+No cross-references.
+
@node accent
@section accent
The stress of one tone over others.
+@seealso
+No cross-references.
+
@node accessory
@section accessory
@seealso
-
@ref{ornament}.
@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}.
S: tillfälligt förtecken,
FI: tilapäinen etumerkki.
-An accidental has the effect of an @ref{alteration} of a note. A
-sharp raises a tone by a @ref{semitone}, a double sharp raises it by a
-@ref{whole tone}, a flat lowers it by a semitone and a double flat
-lowers it by a whole tone. A natural cancels the effect of a previous
-accidental, or a sharp or flat in the key signature.
+An accidental alters a note by:
-@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
+@itemize
+
+@item Raising its pitch:
+@itemize
+@item By two semitones (a whole tone)—@notation{double sharp}
+@item By one semitone—@notation{sharp}
+@end itemize
+
+@item Lowering its pitch:
+@itemize
+@item By one semitone—@notation{flat}
+@item By two semitones (a whole tone)—@notation{double flat}
+@end itemize
+
+@item Or canceling the effects of the key signature or previous accidentals.
+@end itemize
+
+@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}.
+
@node adagio
@section adagio
S: adagio,
FI: adagio, hitaasti.
-[Italian: @q{comfortable, easy}.]
+[Italian: @q{comfortable, easy}]
@itemize
-@item Slow tempo, slower -- especially in even meter -- than
-@ref{andante} and faster than @ref{largo}.
+@item Slow tempo, slower -- especially in even meter -- than @notation{andante}
+and faster than @notation{largo}.
@item A movement in slow tempo, especially the second (slow) movement
-of @ref{sonata}s, symphonies, etc.
+of sonatas, symphonies, etc.
@end itemize
+@seealso
+@ref{andante}, @ref{largo}, @ref{sonata}.
+
@node al niente
@section al niente
ES: ?,
I: al niente,
-F: ?,
+F: al niente, en mourant,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+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 the word @notation{crescendo}. Instead, one
-should use @emph{dal niente} (@notation{@b{from} nothing}).
+@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}.
-@ref{crescendo}, @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{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: cheerful.] Quick tempo. Also used as a title for pieces in a quick
-tempo, especially the first and last movements of a @ref{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}.
@node alteration
NL: verhoging of verlaging,
DK: ?,
S: ?,
-FI: ?.
+FI: muunnettu.
An alteration is the modification, raising or lowering, of a note's
-pitch. It is established by an @ref{accidental}.
+pitch. It is established by an accidental.
+
+@c TODO: add second meaning from mensural notation
+
+@seealso
+@ref{accidental}.
@node alto
A female voice of low range (@emph{contralto}). Originally the alto
was a high male voice (hence the name), which by the use of falsetto
reached the height of the female voice. This type of voice is also
-known as @ref{countertenor}.
+known as countertenor.
+
+@seealso
+@ref{countertenor}.
@node alto clef
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
+No cross-references.
+
@node anacrusis
@section anacrusis
of music before a section of music. It also refers to the initial
note(s) of a melody occurring in that incomplete measure.
-@seealso
-
-@ref{measure}, @ref{meter}.
-
-@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}.
+
@node ancient minor scale
@section ancient minor scale
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
-@seealso
+@seealso
@ref{diatonic scale}.
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}]
+
Walking tempo/character.
+@seealso
+No cross-references.
+
@node appoggiatura
@section 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 "||"
-}
+@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
+No cross-references.
+
@node arpeggio
@section arpeggio
S: arpeggio,
FI: arpeggio, murtosointu.
-@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 } >>
+[Italian: @q{harp-like, played like a harp}]
+
+@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
+No cross-references.
+
@node articulation
@section articulation
should be played. Slurs, accents, staccato, and legato are all
examples of articulation.
+@seealso
+No cross-references.
+
@node ascending interval
@section ascending interval
A distance between a starting lower note and a higher ending note.
+@seealso
+No cross-references.
+
@node augmented interval
@section augmented interval
FI: ylinouseva intervalli.
@seealso
-
@ref{interval}.
ES: ?,
I: ?,
-F: ?,
+F: augmentation,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: aika-arvojen pidentäminen.
@c TODO: add definition.
This is a placeholder for augmentation (wrt mensural notation).
@seealso
-
@ref{diminution}, @ref{mensural notation}.
@end itemize
+@seealso
+No cross-references.
+
@node B
@section B
@end itemize
@seealso
-
@ref{H}, @ref{Pitch names}
@section backfall
@seealso
-
@ref{appoggiatura}.
@section bar
@seealso
-
@ref{measure}.
S: taktstreck,
FI: tahtiviiva.
+A vertical line through the staff (or through multiple staves) that
+separates measures. Used very infrequently during the Renaissance (mostly
+in secular music, or in sacred music to indicate congruences between parts
+in otherwise-unmetered music).
+
+@seealso
+@ref{measure}.
+
@node baritone
@section baritone
S: baryton,
FI: baritoni, keskikorkuinen miesääni.
-The male voice intermediate between the @ref{bass} and the
-@ref{tenor}.
+The male voice intermediate in pitch between the bass and the tenor.
@c F: clef de troisième ligne dropped
+@seealso
+@ref{bass}, @ref{tenor}.
+
@node baritone clef
@section baritone clef
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}.
S: taktslag,
FI: aika-arvo.
-Note value used for counting, most often half-, fourth-, and eighth
-notes. The base counting value and the number of them per measure is
-indicated at the start of the music.
+Note value used for counting, most often half-, fourth-, and eighth notes.
+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}.
@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
+No cross-references.
+
@node bracket
@section bracket
ES: corchete,
I: ?,
-F: ?,
+F: crochet,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+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
+No cross-references.
@node breath mark
Indication of where to breathe in vocal and wind instrument parts.
+@seealso
+@ref{caesura}.
+
@node breve
@section breve
-ES: cuadrada, breve,
-I: breve,
-F: brève,
-D: Brevis,
-NL: brevis,
-DK: brevis,
-S: brevis,
-FI: brevis, kaksoiskokonuotti.
-
-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}.
-
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-\relative c'' { g\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
+@end itemize
+
+Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
+
+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
@end itemize
@seealso
-
-@ref{Pitch names}
+@ref{Pitch names}.
@node C clef
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
+No cross-references.
+
@node cadence
@section cadence
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
+No cross-references.
+
+
+@node caesura
+@section caesura
+
+ES: cesura,
+I: cesura,
+F: césure,
+D: Zäsur,
+NL: ?,
+DK: ?,
+S: ?,
+FI: välimerkki.
+
+[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}.
+
@node canon
@section canon
FI: kaanon, tarkka jäljittely.
@seealso
-
@ref{counterpoint}.
viritysjärjestelmässä.
Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
-(1/100 of an equally tempered @ref{semitone}).
+(1/100 of an equally tempered semitone).
@seealso
-
-@ref{equal temperament}.
+@ref{equal temperament}, @ref{semitone}.
@node central C
@section central C
@seealso
-
@ref{middle C}.
five-tone @emph{ninth} major chords are most often used as dominants
(functional harmony). Chords having no third above the lower notes to
define their mood are a special case called @q{open chords}. The lack of
-the middle third means their quality is ambivalent: neither major nor minor.
+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}.
S: kromatisk skala,
FI: kromaattinen asteikko.
-A scale consisting of all 12 @ref{semitone}s.
+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}.
+
@node chromaticism
@section chromaticism
S: kromatik,
FI: kromatiikka.
-Use of tones extraneous to a @ref{diatonic scale} (minor, major).
+Using tones extraneous to a diatonic scale (minor, major).
+
+@seealso
+@ref{diatonic scale}.
@node church mode
ES: modo eclesiástico,
I: modo ecclesiastico,
-F: mode ecclésiastique,
+F: mode ecclésiastique, mode d'église,
D: Kirchentonart,
NL: kerktoonladder,
DK: kirketoneart,
FI: moodi, kirkkosävellaji.
@seealso
-
@ref{diatonic scale}.
S: klav,
FI: avain, nuottiavain.
-@seealso
-
-@ref{C clef}, @ref{F clef}, @ref{G clef}.
-
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}.
+
@node cluster
@section cluster
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
+No cross-references.
+
@node comma
@section comma
same note derived from some other tuning method.
@seealso
-
@ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
@ref{temperament}.
@node common meter
@section common meter
-@ref{common time}
+Another name for @ref{common time}.
@seealso
-
-@ref{meter}.
+@ref{common time}, @ref{meter}.
@node common time
ES: compasillo,
I: ?,
-F: ?,
+F: mesure à 4/4,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: C-merkintä.
-4/4 time. The symbol, which resembles a capital letter C, derives from
+4/4 time. The symbol, which resembles a capital letter C, comes from
mensural notation.
@seealso
-
@ref{mensural notation}, @ref{meter}.
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: ?,
S: ?,
-FI: ?.
+FI: kolmijakoinen tahtilaji.
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: ?,
S: ?,
-FI: ?.
+FI: yhdistetty tahtilajiosoitus.
@enumerate
@ref{compound meter}.
@item
-A time signature that additively combines two or more unequal meters, e.g.
+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)
- (interpret-markup
- (ly:grob-layout grob)
- '(((baseline-skip . 2)
- (word-space . 1.5)
- (font-family . number)))
- (markup
- #:line ( #:column (one) "+" #:column (two num) "+" #:column (three)))))
-
- \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-auto-beam-setting '(end 1 8 8 8) 3 8)
- #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
- \set Staff.beatGrouping = #'(3 2 3)
-
- c8 d e f4 d8 c bes | c4 g'8 e c f4. \bar "||"
- }
-@end lilypond
-
@end enumerate
-@seealso
+@lilypond[quote,line-width=13.0\cm]
+#(define ((compound-time one two three num) grob)
+ (grob-interpret-markup grob
+ (markup
+ #:override '(baseline-skip . 0)
+ #:number
+ #:line (
+ #:left-column (one num)
+ #:vcenter "+"
+ #:left-column (two num)
+ #:vcenter "+"
+ #:left-column (three num)))))
-@ref{compound meter}, @ref{meter}.
+\relative c' {
+ \key f \major
+ #(set-time-signature 8 8 '(3 2 3))
+ \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)
+
+ c8 d e f4 d8 c bes
+ c4 g'8 e c f4.
+ \bar "||"
+}
+@end lilypond
+
+@seealso
+@ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
@node concert pitch
ES: en Do, afinación de concierto,
I: ?,
-F: ?,
+F: tonalité de concert, en ut,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: konserttikorkeus.
The pitch at which the piano and other nontransposing instruments play: such
instruments are said to be @q{in C}. The following list includes some (but not
all) instruments that play in concert pitch:
-@itemize
+@c Let's see how easy (or hard) it is to put bulleted lists in tables.
+
+@multitable {alto trombone} {tenor trombone} {bass trombone}
+@headitem Woodwinds @tab Brass @tab Strings
-@item Woodwinds
+@item
@itemize
@item flute
@item oboe
@item bassoon
@end itemize
-@item Brass
+@tab
+
@itemize
@item alto trombone
@item tenor trombone
@item bass trombone
@end itemize
-@item Strings
+@tab
+
@itemize
@item violin
@item viola
-@item violincello
+@item violoncello
@end itemize
-@item piano
-
-@end itemize
+@end multitable
The trombones are a special case: although they are said to be @q{in F} (alto or
bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
@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}.
S: stegvis rörelse,
FI: asteittainen liike.
-Progressing melodically by intervals of a second. The opposite of a
-@ref{disjunct movement}.
+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}.
+
@node consonance
@section consonance
FI: konsonanssi, sopusointi.
@seealso
-
@ref{harmony}.
FI: kontra-altto.
@seealso
-
@ref{alto}.
@c Copying music required more skill than engraving. Flagged for NPOV
+@seealso
+No cross-references.
+
@node counterpoint
@section 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
+No cross-references.
+
@node countertenor
@section countertenor
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}.
+
@node cue-notes
@section cue-notes
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
+No cross-references.
+
@node custos
@section custos
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: vihje.
-A custos (plural: custodes) is a staff symbol that appears at the end
-of a staff line with monophonic musical contents (i.e., with a single
-voice). It anticipates the pitch of the first note of the following
-line and thus helps the player or singer to manage line breaks during
-performance, thus enhancing readability of a score.
+A custos (plural: custodes) is a staff symbol that appears at the end of a
+staff line with monophonic musical contents (i.e., with a single voice). It
+anticipates the pitch of the first note of the following line and thus helps
+the player or singer to manage line breaks during performance, which
+enhances the readability of a score.
-Custodes were frequently used in music notation until the 16th
-century. There were different appearences for different notation
-styles. Nowadays, they have survived only in special forms of musical
-notation such as via the Editio Vaticana dating back to the beginning
-of the 20th century
+Custodes were frequently used in music notation until the 16th century.
+There were different appearences for different notation styles. Nowadays,
+they have survived only in special forms of musical notation such as the
+@emph{Editio Vaticana}, dating from the beginning of the 20th century
-@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
+@ref{alla breve}.
+
@node D
@section 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
+No cross-references.
+
@node dal niente
@section dal niente
ES: ?,
I: dal niente,
-F: ?,
+F: partant de rien,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+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
+No cross-references.
+
@node decrescendo
@section 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}.
+
@node descending interval
@section descending interval
A distance between a starting higher note and a lower ending note.
+@seealso
+No cross-references.
+
@node diatonic scale
@section diatonic scale
S: diatonisk skala,
FI: diatoninen asteikko.
-A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{ }@ref{semitone}s (S).
-Scales played on the white keys of a piano keybord are diatonic; and these
-scales are sometimes called, somewhat inaccurately, @q{church modes}).
+A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
+played on the white keys of a piano keybord are diatonic. These scales
+are sometimes called, somewhat inaccurately, @q{church modes}).
-These @q{modes} are used in Gregorian chant and in pre-baroque early music
+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 {
- "Ancient minor"
+ "Ancient (or Natural) minor"
}
>>
@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}.
FI: vähennetty intervalli.
@seealso
-
@ref{interval}.
ES: diminuendo,
I: diminuendo,
-F: diminuendo,
+F: diminuendo, en diminuant,
D: diminuendo,
NL: diminuendo,
DK: diminuendo,
FI: diminuendo, hiljentyen.
@seealso
-
@ref{decrescendo}.
ES: ?,
I: ?,
-F: ?,
+F: diminution,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: aika-arvojen tihennys.
-@c TODO: add definition
-
-This is a placeholder for diminution (wrt mensural notation).
+This is a stub for diminution (@emph{wrt} mensural notation).
@seealso
-
@ref{augmentation}, @ref{mensural notation}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: suora.
@seealso
-
@ref{custos}.
S: hoppande rörelse,
FI: melodian hyppivä liike.
-Progressing melodically by intervals larger than a major second, as
-opposed to @ref{conjunct movement}.
+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}.
+
@node dissonance
@section dissonance
-@ref{dissonant interval}.
+Another name for @ref{dissonant interval}.
+
+@seealso
+@ref{dissonant interval}, @ref{harmony}.
@node dissonant interval
ES: intervalo disonante, disonancia,
I: intervallo dissonante, dissonanza,
-F: dissonance,
+F: intervalle dissonant, dissonance,
D: Dissonanz,
NL: dissonant interval, dissonant,
DK: dissonerende interval, dissonans,
FI: dissonanssi, dissonoiva intervalli, riitasointi.
@seealso
-
@ref{harmony}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: jäsennysmerkki.
-[Latin: @q{division}: pl. @emph{divisiones}] In Gregorian chant, a
+[Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
vertical stroke through part or all of the staff that serves to
structure a chant into phrases and sections. There are four types:
TODO: musical example here?
@seealso
-
-None yet.
+No cross-references.
@node doit
ES: ?,
I: ?,
-F: ?,
+F: saut,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: nousu.
Indicator for a indeterminately rising pitch bend. Compare with
@emph{glissando}, which has determinate starting and ending pitches.
@seealso
-
@ref{fall}, @ref{glissando}.
S: dominant,
FI: dominantti, huippusointu.
-The fifth @ref{scale degree} in @ref{functional harmony}.
+The fifth @emph{scale degree} in @emph{functional harmony}.
+
+@seealso
+@ref{functional harmony}, @ref{scale degree}.
@node dominant ninth chord
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,
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,
FI: dominanttiseptimisointu.
@seealso
-
@ref{chord}, @ref{functional harmony}.
FI: doorinen moodi.
@seealso
-
@ref{diatonic scale}.
FI: piste.
@seealso
-
@ref{dotted note}, @ref{note value}.
FI: pisteellinen nuotti.
@seealso
-
@ref{note value}.
FI: kaksoisappogiatura, kaksoisetuhele.
@seealso
-
@ref{appoggiatura}.
Indicates the end of a section within a movement.
+@seealso
+No cross-references.
+
@node double dotted note
@section double dotted note
FI: kaksoispisteellinen nuotti.
@seealso
-
@ref{note value}.
FI: kaksoisalennusmerkki.
@seealso
-
@ref{accidental}.
FI: kaksoisylennysmerkki.
@seealso
-
@ref{accidental}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: kaksois-aika-arvomerkintä.
@seealso
-
@ref{polymetric time signature}.
A simultaneous trill on two notes, usually in the distance of a third.
+@seealso
+No cross-references.
+
@node duple meter
@section 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,
FI: kaksoistempo.
@seealso
-
@ref{meter}.
FI: duoli.
@seealso
-
@ref{note value}.
FI: kesto, aika-arvo.
@seealso
-
@ref{note value}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: äänen voimakkuusvaihtelu, dynamiikka.
The aspect of music relating to degrees of loudness, or changes from
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}.
@end itemize
@seealso
-
@ref{Pitch names}
@section ecclesiastical mode
@seealso
-
-@ref{church mode}.
+@ref{church mode}, @ref{diatonic scale}.
@node eighth note
@end itemize
@seealso
-
@ref{note value}.
@end itemize
@seealso
-
@ref{note value}.
ES: sinalefa,
I: ?,
-F: ?,
+F: élision,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: tavujen yhdistäminen yhteen ääneen.
-More properly synalepha [New Lat. > Gr. συναλοιφη, from Greek συναλοιφην @q{to
-smear together}].
+More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
+@emph{συναλοιφην} @q{to smear together}].
The singing of several syllables on a single note. Elision may be indicated
-by a lyric tie, which is looks like (and serves the same function) as a
-musical tie.
+by a lyric tie, which looks like (and serves the same function) as a musical
+tie.
@seealso
-
@ref{lyric tie}.
@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
+No cross-references.
+
@node enharmonic
@section 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
+No cross-references.
+
@node equal temperament
@section equal temperament
S: liksvävande temperatur,
FI: tasavireinen.
-Tuning system dividing the octave into 12 equal @ref{semitone}s
-(precisely 100 @ref{cent}s).
+A tuning system that divides the octave into 12 equal semitones (each of
+which is precisely equal to 100 cents).
@seealso
-
-@ref{temperament}.
+@ref{cent}, @ref{semitone}, @ref{temperament}.
@node expression mark
@itemize
-@item volume, dynamics (for example @ref{forte}, @ref{crescendo}),
+@item volume, dynamics (for example, @notation{forte},
+@notation{crescendo}),
-@item tempo (for example @ref{andante}, @ref{allegro}).
+@item tempo (for example, @notation{andante}, @notation{allegro}).
@end itemize
+@seealso
+@ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
+
@node extender line
@section extender line
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: pidennysviiva.
-The generic term for a line (or dash) of arbitrary length that extends
-text (without indicating the musical @emph{function} of that text).
+The generic term (in LilyPond) for a line (or dash) of arbitrary length that
+extends text (without indicating the musical @emph{function} of that text).
Used in many contexts, for example:
@end itemize
@seealso
-
-@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark}, @ref{octave
-marking}.
+@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
+@ref{octave marking}.
@node F
@end itemize
@seealso
-
@ref{Pitch names}
below central@w{ }C. Used on the third, fourth and fifth note line.
A digit@w{ }8 above the clef symbol indicates that the notes must be
played an octave higher (for example, bass recorder) while 8@w{ }below
-the clef symbol indicates playing an octave lower (for example, on
-double bass @ref{strings}).
+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}
-
-@c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
+@ref{baritone clef}, @ref{strings}.
@node fall
ES: ?,
I: ?,
-F: ?,
+F: chute,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: lasku.
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: ?,
S: ?,
-FI: ?.
+FI: kiilapalkki.
A type of beam used to indicate that a small group of notes should be
played at an increasing or decreasing tempo -- depending on the
of the piece.
@seealso
-
Internals Reference: @ruser{Manual beams}
@node fermata
@section fermata
+@c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
+
ES: calderón,
I: corona,
F: point d'orgue, point d'arrêt,
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
+No cross-references.
+
@node fifth
@section fifth
FI: kvintti.
@seealso
-
@ref{interval}.
Also called @q{thorough bass}.
-A method of indicating an accompaniment part by the bass notes only, together
-with figures designating the chief @ref{interval}s and @ref{chord}s to be played
-above the bass notes.
+A method of indicating an accompaniment part by the bass notes only,
+together with figures designating the chief intervals and chords to be
+played above the bass notes.
-@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}.
+
@node fingering
@section fingering
S: fingersättning,
FI: sormitus.
-The methodical use of fingers in the playing of instruments.
+Figures to the side or above the note that methodically indicate which
+fingers to use while playing a passage.
+
+@seealso
+No cross-references.
@node flag
S: flagga,
FI: lippu, viiri.
-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
-@ref{note value}.
+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_"1/8" s8
- g16_"1/16" s8
- g32_"1/32" s8
- g64_"1/64" s8
-}
+@lilypond[quote,notime,relative=2]
+g8-"8th" s8
+g16-"16th" s8
+g32-"32nd" s8
+g64-"64th" s8
@end lilypond
+@seealso
+@ref{note value}.
+
@node flageolet
@section flageolet
ES: ?,
I: ?,
-F: ?,
+F: flageolet,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: flageolet-ääni.
An articulation for string players that means the note or passage is to
be played in harmonics.
@end itemize
@seealso
-
@ref{articulation}, @ref{harmonics}.
FI: alennusmerkki.
@seealso
-
@ref{accidental}.
@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
+No cross-references.
+
+
@node fourth
@section fourth
FI: kvartti.
@seealso
-
@ref{interval}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: partituuri francesan tapaan.
A @q{condensed} score, produced by omitting staves for instruments that are not
playing at the moment, and by moving up additional systems from following pages
you may wish to procure a copy of their style manual.
@seealso
-
@ref{Frenched staff}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: karsittu nuotinnus.
-Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded
-measures or sections removed. This would be useful for producing, for example,
-an @emph{ossia} staff.
+[Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
+Frenched staff has unneeded measures or sections removed. This is useful
+for producing, for example, an @emph{ossia} staff.
@seealso
-
@ref{ossia}.
@node Frenched staves
@section Frenched staves
-ES: pentagramas a la francesa,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: ?.
-
-The plural of @ref{Frenched staff}, @emph{q.v.}.
+Plural of @ref{Frenched staff}.
@node fugue
FI: fuuga.
@seealso
-
@ref{counterpoint}.
S: funktionslära,
FI: harmoniajärjestelmä.
-A system of harmonic analysis. It is based on the idea that, in a
-given key, there are only three functionally different chords: tonic
-(T, the chord on the first note of the scale), subdominant (S, the
-chord on the fourth note), and dominant (D, the chord on the fifth
-note). Others are considered to be variants of the base chords.
+A system of harmonic analysis.
+
+It is based on the idea that, in a given key, there are only three
+functionally different chords: tonic (T, the chord on the first note of the
+scale), subdominant (S, the chord on the fourth note), and dominant (D, the
+chord on the fifth note). Others are considered to be variants of the base
+chords.
+
+TODO: what does the @q{p} mean in Sp, Dp, Tp?
-@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
+No cross-references.
+
@node G
@section G
@end itemize
@seealso
-
@ref{Pitch names}
S: g-klav,
FI: G-avain.
-A clef symbol indicating the G above middle@w{ }C. Used on the first
-and second note lines. A digit 8 above the clef symbol indicates that
-the notes must be played an octave higher while 8 below the clef
-symbol indicates playing or singing an octave lower (most tenor parts
-in choral scores are notated like that).
+A clef symbol that indicates G above middle@w{ }C. Used on the first and
+second note lines. A digit 8 above the clef symbol indicates that the notes
+must be played an octave higher while 8 below the clef symbol indicates
+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
+No cross-references.
+
@node glissando
@section glissando
Letting the pitch slide fluently from one note to the other.
+@seealso
+No cross-references.
+
@node grace notes
@section grace notes
ES: notas de adorno,
I: abbellimenti,
-F: fioriture,
+F: ornement, fioriture,
D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
NL: versieringen,
DK: forsiringer,
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,
S: grave,
FI: grave, raskaasti.
-Slow, solemn.
+[Italian] Slow, solemn.
+
+@seealso
+No cross-references.
@node gruppetto
@section gruppetto
@seealso
-
@ref{turn}.
@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}.
@node half note
@section half note
-UK: minim,
-ES: blanca,
-I: minima,
-F: blanche,
-D: Halbe, halbe Note,
-NL: halve noot,
-DK: halvnode,
-S: halvnot,
-FI: puolinuotti.
+@itemize
+@item UK: minim,
+@item ES: blanca,
+@item I: minima,
+@item F: blanche,
+@item D: Halbe, halbe Note,
+@item NL: halve noot,
+@item DK: halvnode,
+@item S: halvnot,
+@item FI: puolinuotti.
+@end itemize
@seealso
-
@ref{note value}.
@node half rest
@section half rest
-UK: minim rest,
-ES: silencio de blanca,
-I: pausa di minima,
-F: demi-pause,
-D: halbe Pause,
-NL: halve, rust,
-DK: halvnodespause,
-S: halvpaus,
-FI: puolitauko.
+@itemize
+@item UK: minim rest,
+@item ES: silencio de blanca,
+@item I: pausa di minima,
+@item F: demi-pause,
+@item D: halbe Pause,
+@item NL: halve, rust,
+@item DK: halvnodespause,
+@item S: halvpaus,
+@item FI: puolitauko.
+@end itemize
@seealso
-
@ref{note value}.
A sequence of chords that terminates a musical phrase or section.
-@ref{functional harmony}.
-
-@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
+@seealso
+@ref{functional harmony}.
+
+
@node harmonics
@section harmonics
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: harmoniset äänet, huiluäänet.
The general class of pitches produced by sounding the second or higher
harmonic of a tone producer: string, column of air, and so on.
natural harmonics, which are those played on the open string; and
artificial harmonics, which are produced on stopped strings.
+@seealso
+No cross-references.
+
@node harmony
@section 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
-Three note harmony @ref{chord}.
+For harmony that uses three or more notes, see @ref{chord}.
+
+@seealso
+@ref{chord}.
@node hemiola
ES: hemiolia,
I: ?,
-F: ?,
+F: hémiole,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: 3/2 -suhde.
-[From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
-the use of three notes of equal value in the time normally occupied by
-of two notes of equal value. The resulting rhythm can be expressed in
-modern terms as a substitution (for example) of a bar in 3/2 for one
-of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era,
-hemiola is most frequently as a special effect (or @emph{affect}) at
-cadences.
+[Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
+
+Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
+time normally occupied by two. The resulting rhythm can be expressed in modern
+terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
+bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
+as a special effect (or @emph{affect}) at cadences.
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{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
@node homophony
S: homofoni,
FI: homofonia, yksiäänisyys.
-Music in which one voice leads melodically followed by the other
-voices more or less in the same rhythm. In contrast to
+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}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: säkeiden tavumäärät.
-A group or list of numbers that indicate the number of syllables in a
-line of a hymn's verse. Different hymnals have different ways of noting
-the hymn meter -- consider a hymn having four lines in two couplets that
-alternate between eight and seven syllables. The @emph{English Hymnal}
-notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87, or
-8@w{ }7@w{ }8@w{ }7.
+A group or list of numbers that indicate the number of syllables in a line
+of a hymn's verse. Different hymnals have different ways of noting the hymn
+meter: for example, consider a hymn that has four lines in two couplets
+alternating regularly between eight and seven syllables. The @emph{English
+Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
+or 8@w{ }7@w{ }8@w{ }7.
Some frequently-used hymn meters have traditional names:
@itemize
-
@item 66.86 is called Short Meter (abbreviated SM or S.M.)
-
@item 86.86 is called Common Meter (CM or C.M.)
-
@item 88.88 is called Long Meter (LM or L.M.)
-
@end itemize
Some hymns and their tunes are doubled versions of a simpler meter: for
87.87D. The traditional names above also have doubled versions:
@itemize
-
@item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
-
@item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
-
@item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
-
@end itemize
+@seealso
+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 (@ref{enharmonic}) and are called
-@emph{tritonus} because they consist of three @ref{whole tone}s. 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}.
+
@node inversion
@section inversion
ES: ?,
I: ?,
-F: inversion,
+F: renversement,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: käännös.
-When the bass is not the same as the root, the chord is inverted. The number
-of inversions that a chord can have is one fewer than the number of
-constituent notes. Triads, for example, (having three constituent notes) can
-have three positions, two of which are inversions:
+When a chord sounds with a bass note that differs from the root of the
+chord, it is said to be @emph{inverted}. The number of inversions that a
+chord can have is one fewer than the number of constituent notes. For
+example, triads (which have three constituent notes) can have three
+positions, two of which are inversions:
-@table @code
+@table @dfn
@item Root position
The root note is in the bass, and above that are the third and the fifth. A
triad built on the first scale degree, for example, is marked @notation{I}.
unstable chord position.
@end table
+@seealso
+No cross-references.
+
@node inverted interval
@section 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
+No cross-references.
+
@node just intonation
@section just intonation
Tuning system in which the notes are obtained by adding and subtracting
natural fifths and thirds.
+@seealso
@ref{temperament}.
S: tonart,
FI: tonaliteetti.
-According to the 12@w{ }tones of the @ref{chromatic scale} there are
+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{key signature}.
+@ref{chromatic scale}, @ref{key signature}.
@node key signature
The sharps or flats appearing at the beginning of each staff indicating the
key of the music.
+@seealso
@ref{accidental}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: antaa väristä.
-[From 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
+No cross-references.
+
@node largo
@section largo
ES: largo,
I: largo,
-F: largo,
+F: largo, large, ample,
D: Largo, Langsam, Breit,
NL: largo,
DK: largo,
S: largo,
FI: largo, hitaasti, leveästi.
-Very slow in tempo, usually combined with great expressiveness.
-@emph{Larghetto} is less slow than largo.
+[Italian: @q{wide}.] Very slow in tempo, usually combined with great
+expressiveness. @emph{Larghetto} is less slow than largo.
@node leading note
ES: sensible,
I: sensibile,
-F: note sensible,
+F: (note) sensible,
D: Leitton,
NL: leidtoon,
DK: ledetone,
S: ledton,
FI: johtosävel.
-The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so
+The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
called because of its strong tendency to @q{lead up} (resolve upwards)
to the tonic scale degree.
+@seealso
+@ref{scale degree}, @ref{semitone}.
+
@node ledger line
@section ledger line
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
+No cross-references.
+
@node legato
@section legato
FI: legato, sitoen.
To be performed (a) without any perceptible interruption between the
-notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c)
-@emph{portato}, and (d) @ref{staccato}.
+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}.
@section leger line
@seealso
-
@ref{ledger line}.
A ligature is a coherent graphical symbol that represents at least two
distinct notes. Ligatures originally appeared in the manuscripts of
-Gregorian chant notation roughly since the 9th century to denote ascending
-or descending sequences of notes. In early notation, ligatures were used
-for monophonic tunes (Gregorian chant) and very soon denoted also the way of
-performance in the sense of articulation. With the invention of the metric
+Gregorian chant notation around the 9th century to denote ascending or
+descending sequences of notes. In early notation, ligatures were used for
+monophonic tunes (Gregorian chant) and very soon denoted also the way of
+performance in the sense of articulation. With the invention of the metric
system of the white mensural notation, the need for ligatures to denote such
patterns disappeared.
@seealso
-
@ref{mensural notation}.
FI: liljalampi.
A pond with lilies floating in it.
+
Also, the name of a music typesetting program.
+@seealso
+No cross-references.
+
@node line
@section line
FI: viiva, nuottiviiva.
@seealso
-
@ref{staff}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: kirjoitetussa äänenkorkeudessa.
-[From 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}.
FI: pitkä appoggiatura, pitkä etuhele.
@seealso
-
@ref{appoggiatura}.
@node longa
@section longa
-ES: longa,
-I: longa,
-F: longa,
-D: Longa,
-NL: longa,
-DK: longa,
-S: longa,
-FI: longa.
+@itemize
+@item US: long, longa,
+@item ES: longa,
+@item I: longa,
+@item F: longa, longue,
+@item D: Longa,
+@item NL: longa,
+@item DK: longa,
+@item S: longa,
+@item FI: longa.
+@end itemize
-Note value: double length of @ref{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
-}
+@lilypond[quote,notime,relative=2]
+\override NoteHead #'style = #'mensural
+g\longa g\breve
@end lilypond
@seealso
-
-@ref{note value}.
+@ref{breve}, @ref{note value}.
@node lyric tie
ES: ligadura de letra,
I: ?,
-F: ?,
+F: ligature de mots,
D: Textbindung,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: sidonta sanoituksessa.
@c TODO: add languages
@seealso
-
@ref{elision}.
S: ?,
FI: sanoitus.
+@c Definition?
+
+@seealso
+No cross-references.
+
@node major
@section major
FI: duuri.
@seealso
-
@ref{diatonic scale}.
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{Duration names notes and rests}, @ref{longa}, @ref{note value}.
+
+
@node meantone temperament
@section meantone temperament
S: medeltonstemperatur,
FI: keskisävelviritys.
-Temperament yielding acoustically pure thirds by decreasing the
-natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular
-character of this @ref{temperament} only a limited set of keys are
-playable. Used for tuning keyboard instruments for performance of
-pre-1650 music.
+Temperament yielding acoustically pure thirds by decreasing the natural
+fifth by 16@w{ }cents. Due to the non-circular character of this
+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}.
@node measure
S: takt,
FI: tahti.
-A group of @ref{beat}s (units of musical time) the first of which
-bears an accent. Such groups in numbers of two or more recur
-consistently throughout the composition and are marked from each other
-by bar-lines.
+A group of beats (units of musical time) the first of which bears an accent.
+Such groups in numbers of two or more recur consistently throughout the
+composition and are separated from each other by bar lines.
-@ref{meter}.
+@seealso
+@ref{bar line}, @ref{beat}, @ref{meter}.
@node measure repeat
@section measure repeat
@seealso
-
@ref{percent repeat}.
@item The third @b{scale degree}.
-@item A @ref{chord} having its base tone a third from that of another
+@item A @emph{chord} having its base tone a third from that of another
chord. For example, the tonic chord may be replaced by its lower
mediant (variant tonic).
@end itemize
@seealso
-@ref{functional harmony}, @ref{relative key}.
+@ref{chord}, @ref{functional harmony}, @ref{relative key}.
@node melisma
ES: melisma,
I: ?,
-F: mélisme,
+F: mélisme, tenue,
D: Melisma,
NL: melisma,
DK: ?,
S: ?,
FI: melisma, laulettavan tavun sävelkuvio.
-A melisma (plural, from Greek: melismata) is a group of notes or tones
-sung on one syllable, especially as applied to liturgical chant.
+A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
+on one syllable, especially as applied to liturgical chant.
+
+@seealso
+No cross-references.
@node melisma line
ES: línea de melisma,
I: ?,
-F: ?,
+F: trait de mélisme, trait de tenue,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: melismaviiva.
@seealso
-
@ref{extender line}.
@section melodic cadence
@seealso
-
@ref{cadenza}.
ES: notación mensural,
I: ?,
-F: ?,
+F: notation mensurale,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: mensuraalinuotinnus.
A system of duration notation whose principles were first established in the
mid-13th century, and that (with various changes) remained in use until about
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
@itemize
- @item simple: groups of two.
+ @item simple: subdivided in groups of two.
@itemize
@end itemize
- @item compound: groups of three.
+ @item compound: subdivided in groups of three.
@itemize
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
aes4 bes8 aes ges4 aes f8 es \bar "||"}
@end lilypond
+(Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
+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}
S: me@-tro@-nom,
FI: metronomi.
-Device indicating the exact tempo of a piece.
+Device used to indicate the exact tempo of a piece.
Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
-divisions, and patented it as a "metronome". The inevitable lawsuit that
+divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
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}.
@emph{anglice}).
@seealso
-
@ref{metronome}
@section metronomic indication
@seealso
-
@ref{metronome mark}
ES: ?,
I: mezzo,
-F: ?,
+F: mezzo,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: kohtalaisen, melko.
-[Italian: @q{medium}.]
+[Italian: @q{medium}]
Used to qualify other indications, such as:
@end itemize
+@seealso
+No cross-references.
+
@node mezzo-soprano
@section 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
+No cross-references.
+
@node minor
@section minor
ES: menor,
I: minore,
-F: mode mineur,
+F: (mode) mineur,
D: Moll,
NL: mineur,
DK: mol,
FI: molli.
@seealso
-
@ref{diatonic scale}.
FI: pieni intervalli.
@seealso
-
@ref{interval}.
@section mixolydian mode
@seealso
-
@ref{diatonic scale}.
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
+No cross-references.
+
@node mordent
@section mordent
FI: mordent, korukuvio.
@seealso
-
@ref{ornament}.
@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
+No cross-references.
+
@node movement
@section 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
+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}.
FI: palautusmerkki.
@seealso
-
@ref{accidental}.
-@node neighbour tones
-@section neighbour tones
+@node neighbor tones
+@section neighbor tones
-@seealso
+@c TODO: add definition.
+
+ES: ?,
+I: ?,
+F: tons voisins,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+@seealso
@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
@ref{ornament}.
FI: nooni.
@seealso
-
@ref{interval}.
@section non-legato
@seealso
-
@ref{legato}.
and @ref{note} is strongly recommended. Briefly, one sees a note,
and hears a tone.
+@seealso
+No cross-references.
+
@node note head
@section note head
ES: cabeza,
I: testa, testina, capocchia,
-F: tête de la note,
+F: tête de note,
D: Notenkopf,
NL: nootballetje,
DK: nodehovede,
S: nothuvud,
FI: nuotin pää.
-A head-like sign which indicates pitch by its position on a
-@ref{staff} provided with a @ref{clef}, and duration
-by a variety of shapes such as hollow or black heads with or without
-@ref{stem}s, @ref{flag}s, etc. For percussion
-instruments (often having no defined pitch) the note head may indicate the
-instrument.
+A head-like sign which indicates pitch by its position on a @notation{staff}
+provided with a @notation{clef}, and duration by a variety of shapes such as
+hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
+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 1/2, of
-the next higher note value. The longest duration normally used is
-called @emph{brevis}, but sometimes (mostly in pre-baroque music) 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
+@ref{common time}.
+
@node octavation
@section octavation
@seealso
-
@ref{octave marking}.
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}.
@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
+No cross-references.
+
@node part
@section part
@end itemize
@seealso
-
@ref{counterpoint}
@section pause
@seealso
-
@ref{fermata}.
@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
Vermont Music Dictionary}.
tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
and xylophone.
+@seealso
+No cross-references.
+
@node perfect interval
@section perfect interval
FI: puhdas intervalli.
@seealso
-
@ref{interval}.
A natural division of the melodic line, comparable to a sentence of speech.
+@seealso
+@ref{caesura}.
+
@node phrasing
@section phrasing
S: fra@-se@-ring,
FI: fraseeraus, jäsentäminen.
-The clear rendering in musical performance of the @ref{phrase}s of
-the melody. Phrasing may be indicated by a @ref{slur}.
+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}.
@node piano
@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
@emph{mezzo piano} (@b{mp}) medium soft.
+@seealso
+No cross-references.
+
@node pickup
@section pickup
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
+No cross-references.
+
@node polymeter
@section polymeter
ES: compás polimétrico,
I: ?,
-F: ?,
+F: polymétrie,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: monia tahtiosoituksia sisältävä.
@itemize
-@item The simultaneous use of two or more meters, in two or more parts.
+@item The @emph{simultaneous} use of two or more meters, in two or more
+parts.
@item The @emph{successive} use of different meters in one or more parts.
@end itemize
@seealso
-
@ref{polymetric} (adj.)
ES: polimétrico,
I: ?,
-F: ?,
+F: polymétrique,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
-Using two or more metric frameworks simultaneously or in alternation.
+Characterized by @emph{polymeter}: using two or more metric frameworks
+simultaneously or in alternation.
@seealso
-
@ref{polymeter} (noun)
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: vaihtelevan tahtiosoitusmerkintä.
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}.
@node portato
@section portato
-@seealso
+[Italian: past participle of @emph{portare}, @q{to carry}]
+
+A stroke in which each of several notes is separated slightly within a slur,
+without changing the bow's direction. It is used for passages of a
+@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,
S: presto,
FI: presto, hyvin nopeasti.
+[Italian]
+
Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
denotes the highest possible degree of speed.
+@seealso
+No cross-references.
+
@node proportion
@section proportion
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: suhde.
+
+[Latin: @emph{proportio}] Described in great detail by Gaffurius, in
+@emph{Practica musicae} (published in Milan in 1496). In mensural notation,
+proportion is:
+
+@enumerate
+
+@item A ratio that expresses the relationship between the note values that
+follow with those that precede;
+
+@item A ratio between the note values of a passage and the @q{normal}
+relationship of note values to the metrical pulse. (A special case of the
+first definition.)
+
+@end enumerate
+
+The most common proportions are:
+
+@itemize
+@item 2:1 (or simply 2), expressed by a vertical line through the
+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
-[From Latin @emph{proportio}] In mensural notation, a ratio that expresses the
-relationship between the note values that follow with those that precede; or
-between the note values of a passage and the @q{normal} relationship of note
-values to the metrical pulse.
+To @q{cancel} any of these, the inverse proportion is applied. Thus:
+
+@itemize
+@item 1:2 cancels 2:1
+@item 1:3 cancels 3:1
+@item 2:3 cancels 3:2
+@item and so on.
+@end itemize
+
+Gaffurius enumerates five basic types of major:minor proportions and their
+inverses:
+
+@enumerate
+@item Multiplex, if the major number is an exact multiple of the minor (2:1,
+3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
+
+@item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
+if the major number is one more than the minor (3:2, 4:3, 5:4); and its
+inverse, Subsuperparticular (2:3, 3:4, 4:5)
+
+@item Superpartiens, if the major number is one less than twice the minor
+(5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
+
+@item Multiplexsuperparticular, if the major number is one more than twice the
+minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
+4:9)
+
+@item Multiplexsuperpartiens, if the major number is one less than some other
+multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
+inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
+
+@end enumerate
+
+He then continues to subdivide each type in various ways. For the multiplex
+proportions, for example, he indicates how many times greater the major number
+is than the minor:
+
+@itemize
+
+@item If two times greater, the proportion is @emph{dupla}. If inverted, it's
+called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
+
+@item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
+3:1, 6:2, and 9:3.
+
+@item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
+Example: 4:1, 8:2, and 12:3
+
+@end itemize
+
+Other proportions were possible, but whether they were frequently used is
+another question:
+
+@itemize
+
+@item 33:9, @emph{triplasuperbipartientetertias}
+@item 51:15, @emph{triplasuperbipartientequintas}
+
+@end itemize
@c TODO: add an example or two. O => 4/3, and its modern equivalent
@seealso
-
-@ref{mensural notation}
+@ref{mensural notation}.
@node Pythagorean comma
pitches is the Pythagorean comma.
@seealso
-
@ref{cent}, @ref{temperament}.
FI: kvartoli.
@seealso
-
@ref{note value}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: laatu.
The quality of a triad is determined by the precise arrangement of its
intervals. Tertian triads can be described as a series of three notes. The
note is the @q{third} of the chord, and the last note is the @q{fifth} of
the chord. These are described below:
-@multitable @columnfractions .10 .35 .35 .20
-
-@headitem Chord name @tab Component intervals
+@multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
+@headitem Chord name
+ @tab Component intervals
@tab Example
@tab Symbol
@item major triad @tab major third/perfect fifth
except in jazz.
@seealso
-
@ref{chord}.
@end itemize
@seealso
-
@ref{note value}.
@end itemize
@seealso
-
@ref{note value}.
NL: kwart toon,
DK: ?,
S: kvartston,
-FI: ?.
+FI: neljännessävelaskel.
An interval equal to half a semitone.
@seealso
-
@ref{interval}
FI: kvintoli.
@seealso
-
@ref{note value}.
ES: rallentando,
I: rallentando,
-F: rallentando,
+F: rallentando, en ralentissant,
D: rallentando, langsamer werden,
NL: rallentando,
DK: rallentando,
S: rallentando,
FI: rallerdando, hidastuen.
-Abbreviation "rall.".
+[Italian] A performance indication, abbreviated "rall.".
+@seealso
@ref{ritardando}.
S: parallelltonart,
FI: rinnakkaissävellaji.
-@ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
+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 es \major
- 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}.
+
@node repeat
@section repeat
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
+No cross-references.
+
@node rest
@section rest
@c specify the rest's value.
@seealso
-
@ref{note value}.
@end itemize
+@seealso
+No cross-references.
+
@node ritardando
@section 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
+No cross-references.
+
@node ritenuto
@section ritenuto
ES: ritenuto,
I: ritenuto,
-F: ritenuto,
+F: ritenuto, en retenant,
D: ritenuto,
NL: ritenuto,
DK: ritenuto,
Immediate reduction of speed.
+@seealso
+No cross-references.
+
@node scale
@section scale
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}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: epätavallinen viritys.
-[From 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
+No cross-references.
+
@node score
@section 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
+No cross-references.
+
@node second
@section 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
+@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}.
FI: septimi.
@seealso
-
@ref{interval}.
@section sextolet
@seealso
-
@ref{sextuplet}, @ref{note value}.
FI: sekstoli.
@seealso
-
@ref{note value}.
@section shake
@seealso
-
@ref{trill}.
FI: korotusmerkki.
@seealso
-
@ref{accidental}.
ES: simile,
I: simile,
-F: ?,
+F: simile,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: samoin.
-[From It, @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: ?,
S: ?,
-FI: ?.
+FI: kaksijakoinen tahtiosoitus.
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 I: semicroma
@item F: double croche
@item D: Sechzehntel, Sechzehntelnote
-@item NL: zes@-ti@-ende noot
+@item NL: zestiende noot
@item DK: sekstendedelsnode
@item S: sextondelsnot
@item FI: kuudestoistaosanuotti
@end itemize
@seealso
-
@ref{note value}.
@end itemize
@seealso
-
@ref{note value}.
FI: seksti.
@seealso
-
@ref{interval}.
@end itemize
@seealso
-
@ref{note value}.
@end itemize
@seealso
-
@ref{note value}.
@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
+No cross-references.
+
@node solmization
@section solmization
FI: suhteelliset laulunimet.
General term for systems of designating the degrees of the
-@ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
+@notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
@emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
(@emph{ti})).
-@ref{scale degree}.
+@seealso
+@ref{scale}, @ref{scale degree}.
@node sonata
accompaniment, which consists of three or four independant pieces,
called movements.
+@seealso
+No cross-references.
+
@node sonata form
@section sonata form
S: sonatform,
FI: sonaattimuoto.
-A form used frequently for single movements of the @ref{sonata},
-@ref{symphony}, quartet, etc. A movement written in sonata form falls
-into three sections called @emph{exposition}, @emph{development} and
-@emph{recapitulation}. In the exposition the composer introduces some
-musical ideas, consisting of a number of themes; in the development
-section the composer @q{develops} this material, and in the
-recapitulation the composer repeats the exposition, with certain
-modifications. The exposition contains a number of themes that fall
-into two groups, often called first and second subject. Other
-melodies occurring in each group are considered as continuations of
-these two. The second theme is in another key, normally in the key of
-the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
-@ref{relative key} if the tonic is @ref{minor}.
+A form used frequently for single movements of the @emph{sonata},
+@emph{symphony}, quartet, etc. A movement written in sonata form falls into
+three sections called @notation{exposition}, @notation{development} and
+@notation{recapitulation}. In the exposition the composer introduces some
+musical ideas, consisting of a number of themes; in the development section the
+composer @emph{develops} this material, and in the recapitulation the composer
+repeats the exposition, with certain modifications. The exposition contains a
+number of themes that fall into two groups, often called first and second
+subject. Other melodies occurring in each group are considered as continuations
+of these two. The second theme is in another key, normally in the key of the
+@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
+No cross-references.
+
@node staccato
@section 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
+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
+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
+@ref{beam}.
+
@node stringendo
@section stringendo
ES: ?,
I: stringendo,
-F: ?,
+F: stringendo, en accélérant,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: kiihdyttäen, nopeuttaen.
-[It, @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
+No cross-references.
+
@node strong beat
@section strong beat
FI: tahdin vahva isku.
@seealso
-
@ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
S: subdominant,
FI: subdominantti, alidominantti.
-The fourth @ref{scale degree}.
+The fourth @notation{scale degree}.
-@ref{functional harmony}.
+@seealso
+@ref{functional harmony}, @ref{scale degree}.
@node submediant
S: submediant,
FI: alikeskisävel.
-The sixth @ref{scale degree}.
+The sixth @notation{scale degree}.
+
+@seealso
+@ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
@node subtonic
The seventh @ref{scale degree}.
+@seealso
+@ref{functional harmony}, @ref{scale degree}.
+
@node sul G
@section sul G
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: G-kielellä.
Indicates that the indicated passage (or note) should be played on the
G string.
+@seealso
+No cross-references.
+
@node superdominant
@section superdominant
The sixth @ref{scale degree}.
+@seealso
+@ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
+
@node supertonic
@section supertonic
The second @ref{scale degree}.
+@seealso
+@ref{functional harmony}, @ref{scale degree}.
+
@node symphony
@section symphony
S: symfoni,
FI: sinfonia.
-A symphony may be defined as a @ref{sonata} for orchestra.
+A symphony may be defined as a @emph{sonata} for orchestra.
+
+@seealso
+@ref{sonata}.
+
@node syncopation
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
+No cross-references.
+
@node syntonic comma
@section syntonic comma
This comma is also known as the comma of Didymus, or didymic comma.
@seealso
-
@ref{Pythagorean comma}
S: system,
FI: nuottijärjestelmä.
-The collection of staves (@ref{staff}), two or more, as used for writing
+The collection of staves (@notation{staff}), two or more, as used for writing
down of keyboard, chamber, choral, or orchestral music.
+@seealso
+@ref{staff}.
+
@node temperament
@section temperament
Systems of tuning in which the intervals deviate from the acoustically
pure intervals.
+@seealso
@ref{meantone temperament}, @ref{equal temperament}.
S: tempobeteckning,
FI: tempomerkintä.
-The rate of speed of a composition or a section thereof, ranging from
-the slowest to the quickest, as is indicated by tempo marks as
-@ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
-@ref{presto}.
+The rate of speed of a composition or a section thereof, ranging from the
+slowest to the quickest, as is indicated by tempo marks as @notation{largo},
+@notation{adagio}, @notation{andante}, @notation{allegro}, and
+@notation{presto}.
+
+@seealso
+@ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
+
@node tenor
S: tenor,
FI: tenori, korkea miesääni.
-The highest male voice (apart from @ref{countertenor}).
+The highest @q{natural} male voice (apart from @notation{countertenor}).
+
+@seealso
+@ref{countertenor}.
@node tenth
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
+No cross-references.
+
@node third
@section third
FI: terssi.
@seealso
-
@ref{interval}.
@item I: biscroma
@item F: triple croche
@item D: Zweiunddreissigstel, Zweiunddreissigstelnote
-@item NL: twee-endertig@-ste (32e) noot
+@item NL: twee@-endertig@-ste (32e) noot
@item DK: toogtredivtedelsnode
@item S: trettiotvåondelsnot
@item FI: kolmaskymmeneskahdesosanuotti
@end itemize
@seealso
-
@ref{note value}.
@item I: pausa di biscroma
@item F: huitième de soupir
@item D: Zweiunddreissigstel@-pause
-@item NL: twee-endertig@-ste (32e) rust
+@item NL: twee@-endertig@-ste (32e) rust
@item DK: toogtredivtedelspause
@item S: trettiotvåondelspaus
@item FI: kolmaskymmeneskahdesosatauko
@end itemize
@seealso
-
@ref{note value}.
@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
@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,
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
+No cross-references.
+
@node tonic
@section tonic
S: tonika,
FI: toonika.
-The first @ref{scale degree}.
+The first @notation{scale degree}.
@seealso
-
-@ref{functional harmony}.
+@ref{functional harmony}, @ref{scale degree}.
@node transposing instrument
ES: instrumento transpositor,
I: ?,
-F: ?,
+F: instrument transpositeur,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: transponoitava soitin.
Instruments whose notated pitch is different from their sounded pitch. Except
for those whose notated and sounding pitches differ by one or more octaves (to
@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
+No cross-references.
+
@node treble clef
@section treble clef
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}
FI: kolmisointu.
@seealso
-
@ref{chord}.
FI: trilli.
@seealso
-
@ref{ornament}.
FI: kolmijakoinen.
@seealso
-
@ref{meter}.
FI: trioli.
@seealso
-
@ref{note value}.
FI: tritonus.
@seealso
-
@ref{interval}.
standard. Tuning forks for other pitches are available.
@seealso
-
@ref{middle C}.
subdivisions.
@seealso
-
@ref{triplet}, @ref{note value}.
FI: korukuvio.
@seealso
-
@ref{ornament}.
(voices) or by the whole orchestra (choir), either at exactly the same
pitch or in a different octave.
+@seealso
+No cross-references.
+
@node upbeat
@section upbeat
FI: kohotahti.
@seealso
-
@ref{anacrusis}
@itemize
-@item Human voices:
+ @item Human voices:
-@itemize
-
-@item @ref{soprano}
-
-@item @ref{mezzo-soprano}
-
-@item @ref{contralto}
-
-@item @ref{tenor}
-
-@item @ref{baritone}
+ @itemize
+ @item @ref{soprano}
+ @item @ref{mezzo-soprano}
+ @item @ref{contralto}
+ @item @ref{tenor}
+ @item @ref{baritone}
+ @item @ref{bass}
+ @end itemize
-@item @ref{bass}
+ @item A melodic layer or part of a polyphonic composition.
@end itemize
-@item A melodic layer or part of a polyphonic composition.
-
-@end itemize
+@seealso
+No cross-references.
@node volta
ES: vez, primera y segunda vez,
I: volta,
-F: ?,
+F: volta, fois,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: yksi kertauksen maaleista.
-[From 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 @q{volta} text.
+(not just a number) -- to serve as the @notation{volta} text.
+
+@seealso
+No cross-references.
@node weak beat
FI: tahdin heikko isku.
@seealso
-
@ref{beat}, @ref{measure}, @ref{rhythm}.
@end itemize
@seealso
-
@ref{note value}.
@end itemize
@seealso
-
@ref{note value}.
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
+No cross-references.
+
@node Duration names notes and rests
@chapter Duration names notes and rests
@tab brevispaus
@item @strong{FI} @tab longa-nuotti
@tab longa-tauko
- @tab brevis-nuotti, kaksoiskokonuotti
- @tab brevis-tauko, kaksoiskokotauko
+ @tab brevis-nuotti, kaksoiskoko@-nuotti
+ @tab brevis-tauko, kaksoiskoko@-tauko
@end multitable
@tab fjärdedelspaus
@tab åttondelsnot
@tab åttondelspaus
-@item @strong{FI} @tab neljäsosanuotti
- @tab neljäsosatauko
- @tab kahdeksasosanuotti
- @tab kahdeksasosatauko
+@item @strong{FI} @tab neljäsosa@-nuotti
+ @tab neljäsosa@-tauko
+ @tab kahdeksasosa@-nuotti
+ @tab kahdeksasosa@-tauko
@end multitable
@item @strong{DE} @tab Sechzehntelnote
@tab Sechzehntelpause
@tab 16tel-Note
-@item @strong{NL} @tab zestiende noot
- @tab zestiende rust
+@item @strong{NL} @tab zes@-ti@-ende noot
+ @tab zes@-ti@-ende rust
@tab 16e noot
@item @strong{DK} @tab sekstendedelsnode
@tab sekstendedelspause
@item @strong{SE} @tab sextondelsnot
@tab sextondelspaus
@tab -
-@item @strong{FI} @tab kuudestoistaosanuotti
- @tab kuudestoistaosatauko
+@item @strong{FI} @tab kuudes@-toistaosa@-nuotti
+ @tab kuudes@-toistaosa@-tauko
@tab 16-osanuotti
@end multitable
@item @strong{FR} @tab triple croche
@tab huitième de soupir
@tab -
-@item @strong{DE} @tab Zweiunddreißigstelnote
- @tab Zweiunddreißigstelpause
+@item @strong{DE} @tab Zweiunddreißig@-stelnote
+ @tab Zweiunddreißig@-stelpause
@tab 32tel-Note
-@item @strong{NL} @tab tweeendertigste noot
- @tab tweeendertigste rust
+@item @strong{NL} @tab twee@-endertigste noot
+ @tab twee@-endertigste rust
@tab 32e noot
@item @strong{DK} @tab toogtredivtedelsnode
@tab toogtredivtedelspause
@tab -
-@item @strong{SE} @tab trettiotvåondelsnot
- @tab trettiotvåondelspaus
+@item @strong{SE} @tab trettio@-tvåondelsnot
+ @tab trettio@-tvåondelspaus
@tab -
-@item @strong{FI} @tab kolmaskymmeneskahdesosanuotti
- @tab kolmaskymmeneskahdesosatauko
+@item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
+ @tab kolmas@-kymmenes@-kahdesosa@-tauko
@tab 32-osanuotti
@end multitable
@item @strong{NL} @tab vierenzestigste noot
@tab vierenzestigste rust
@tab 64e noot
-@item @strong{DK} @tab fireogtredsindstyvendedelsnode
- @tab fireogtredsindstyvendedelspause
+@item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
+ @tab fireog@-tredsindstyven@-dedelspause
@tab -
@item @strong{SE} @tab sextiofjärdedelsnot
@tab sextiofjärdedelspaus
@tab -
-@item @strong{FI} @tab kuudeskymmenesneljäsosanuotti
- @tab kuudeskymmenesneljäsosatauko
+@item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
+ @tab kuudes@-kymmenes@-neljäsosa@-tauko
@tab 64-osanuotti
@end multitable
@tab -
@item @strong{FR} @tab quintuple croche
@tab trente-deuxième de soupir @tab -
-@item @strong{DE} @tab Hundertundachtundzwanzigstel
- @tab Hundertundachtundzwanzigstel @tab 128tel-Note
-@item @strong{NL} @tab honderdachtentwintigste noot
- @tab honderdachtentwintigste rust
+@item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
+ @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
+@item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
+ @tab honderd@-acht@-en@-twintigste rust
@tab 128e noot
-@item @strong{DK} @tab hundredeotteogtyvendedelsnode
- @tab hundredeotteogtyvendedelspause
+@item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
+ @tab hundrede@-otte@-og@-tyvendedels@-pause
@tab -
@item @strong{SE} @tab hundratjugoåttondelsnot
@tab hundratjugoåttondelspaus
@tab -
-@item @strong{FI} @tab sadaskahdeskymmeneskahdeksasosanuotti
- @tab sadaskahdeskymmeneskahdeksasosatauko
+@item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
+ @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
@tab 128-osanuotti
@end multitable
@tab -
@item @strong{FR} @tab sextuple croche
@tab soixante-quatrième de soupir @tab -
-@item @strong{DE} @tab Zweihundertundsechsundfünfzigstelnote
- @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note
-@item @strong{NL} @tab tweehonderdzesenvijftigste noot
- @tab tweehonderdzesenvijftigste rust
+@item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
+ @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
+@item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
+ @tab tweehonderd@-zesenvijftigste rust
@tab 256e noot
-@item @strong{DK} @tab tohundredeseksoghalvtredsendedelsnode
- @tab tohundredeseksoghalvtredsendedelspause
+@item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
+ @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
@tab -
-@item @strong{SE} @tab tvåhundrafemtiosjättedelsnot
- @tab tvåhundrafemtiosjättedelspaus
+@item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
+ @tab tvåhundra@-femtiosjättedelspaus
@tab -
-@item @strong{FI} @tab kahdessadasviideskymmeneskuudesosanuotti
- @tab kahdessadasviideskymmeneskuudesosatauko
+@item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
+ @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
@tab 256-osanuotti
@end multitable
@seealso
-
@ref{mensural notation}
@item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
Terminologie}. Kassel, 1980.
-@item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
-Cambridge: Belknap Press (Harvard University Press), 1986.
-
-@item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.
-
@item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
Current English}, 3rd ed. London: Oxford University Press, 1974.
@item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
Springfield, Massachusetts: G. & C. Merriam Company, 1913.
+@item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
+Cambridge: Belknap Press (Harvard University Press), 1986.
+
+@item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.
+
@end itemize
@bye
projects / lilypond.git / blobdiff