@c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
@c Updates to the German translation by Till Rettig, 12/07
-Copyright @copyright{} 1999--2008 by the authors
+Copyright @copyright{} 1999--2009 by the authors
Permission is granted to copy, distribute and/or modify this document
under the terms of the GNU Free Documentation License, Version 1.1
@end ignore
@*
-Copyright 1999--2008 by the authors
+Copyright 1999--2009 by the authors
Permission is granted to copy, distribute and/or modify this document
under the terms of the GNU Free Documentation License, Version 1.1
* accidental::
* adagio::
* al niente::
+* alla breve::
* allegro::
* alteration::
* alto::
* crescendo::
* cue-notes::
* custos::
+* cut time::
* D::
* da capo::
* dal niente::
* lyrics::
* major::
* major interval::
+* maxima::
* meantone temperament::
* measure::
* measure repeat::
* melisma line::
* melodic cadence::
* mensural notation::
+* mensuration sign::
* meter::
* metronome::
* metronome mark::
* scordatura::
* score::
* second::
+* semibreve::
* semitone::
* seventh::
* sextolet::
@item FI: A, a
@end itemize
-
@seealso
@ref{Pitch names}.
S: ?,
FI: kahdelle.
-Abbreviated @notation{a2} or @notation{a 2}.
+Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores, @notation{a
+due} indicates that:
@enumerate
-@item An indication in orchestral scores that a single part notated on a single
-staff that normally carries parts for two players (e.g. first and second oboes)
-is to be played by both players.
+@item A single part notated on a single staff that normally carries parts for
+two players (e.g. first and second oboes) is to be played by both players.
@item Or conversely, that two pitches or parts notated on a staff that normally
carries a single part (e.g. first violin) are to be played by different players,
@end enumerate
-
@seealso
-None yet.
+No cross-references.
@node accelerando
S: accelerando,
FI: accelerando, kiihdyttäen.
-[Italian: @q{speed up, accelerate}.]
+[Italian: @q{speed up, accelerate}]
Increase tempo
-
@seealso
-None yet.
+No cross-references.
@node accent
The stress of one tone over others.
-
@seealso
-None yet.
+No cross-references.
@node accessory
@node acciaccatura
@section acciaccatura
+ES: ?,
+I: acciaccatura,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
A grace note which takes its time from the rest or note preceding the
principal note to which it is attached. The acciaccatura is drawn as a
small eighth note (quaver) with a line drawn through the flag and
stem.
-
@seealso
@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
@item Raising its pitch:
@itemize
-@item A @notation{double sharp}, by two semitones (a whole tone)
-@item A @notation{sharp}, by one semitone
+@item By two semitones (a whole tone)—@notation{double sharp}
+@item By one semitone—@notation{sharp}
@end itemize
@item Lowering its pitch:
@itemize
-@item A @notation{flat}, by one semitone
-@item A @notation{double flat}, by two semitones (a whole tone)
+@item By one semitone—@notation{flat}
+@item By two semitones (a whole tone)—@notation{double flat}
@end itemize
-@item Canceling the effects of the key signature or previous accidentals.
+@item Or canceling the effects of the key signature or previous accidentals.
@end itemize
@lilypond[quote,notime]
}
@end lilypond
-
@seealso
@ref{alteration}, @ref{semitone}, @ref{whole tone}.
S: adagio,
FI: adagio, hitaasti.
-[Italian: @q{comfortable, easy}.]
+[Italian: @q{comfortable, easy}]
@itemize
@end itemize
-
@seealso
@ref{andante}, @ref{largo}, @ref{sonata}.
S: ?,
FI: häviten olemattomiin.
-[Italian: @q{to nothing}.] Used with @notation{decrescendo} to indicate
+[Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
that the sound should fade away to nothing.
@notation{Al niente} is indicated by circling the tip of the hairpin:
@notation{al niente} with @notation{crescendo}. Instead, one should use
@emph{dal niente} (@notation{@b{from} nothing}).
+@seealso
+@ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
+
+
+@node alla breve
+@section alla breve
+
+ES: ?,
+I: ?,
+F: alla breve,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[Italian: @q{on the breve}] Twice as fast as the notation indicates.
+
+Also called @notation{in cut-time}. The name derives from mensural notation,
+where the @notation{tactus} (or beat) is counted on the semibreve (the modern
+whole note). Counting @q{on the breve} shifts the tactus to the next longest
+note value, which (in modern usage) effectively halves all note values.
+
+(In mensural notation, breves and semibreves can have a ternary relationship, in
+which case @notation{alla breve} means thrice (not twice) as fast. In practice,
+this complication may not have mattered, since Gaffurius's system of multiplex
+proportions makes it easy to explicitly state which proportion is needed.)
@seealso
-@ref{crescendo}, @ref{decrescendo}, @ref{hairpin}.
+@ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
+@ref{proportion}, @ref{whole note}.
@node allegro
S: allegro,
FI: allegro, nopeasti.
-[Italian: @q{cheerful}.] Quick tempo. Also used as a title for pieces in a quick
-tempo, especially the first and last movements of a sonata.
-
+[Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
+quick tempo, especially the first and last movements of a sonata.
@seealso
@ref{sonata}.
An alteration is the modification, raising or lowering, of a note's
pitch. It is established by an accidental.
+@c TODO: add second meaning from mensural notation
@seealso
@ref{accidental}.
reached the height of the female voice. This type of voice is also
known as countertenor.
-
@seealso
@ref{countertenor}.
C clef setting middle C on the middle line of the staff.
-
@seealso
@ref{C clef}.
also denote the pitch range that a musical instrument is capable of playing.
Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
-
@seealso
-None yet.
+No cross-references.
@node anacrusis
FI: kohotahti.
An anacrusis (also known as pickup or upbeat) is an incomplete measure
-of music before a section of music. It also refers to the initial
+of music before a section of music. It also refers to the initial
note(s) of a melody occurring in that incomplete measure.
@lilypond[quote,relative=1]
f,2. \bar "||"
@end lilypond
-
@seealso
@ref{measure}, @ref{meter}.
S: andante,
FI: andante, käyden.
-[Italian: present participle of @emph{andare}, @q{to walk}.]
+[Italian: present participle of @emph{andare}, @q{to walk}]
Walking tempo/character.
-
@seealso
-None yet.
+No cross-references.
@node appoggiatura
>>
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node arpeggio
S: arpeggio,
FI: arpeggio, murtosointu.
-[Italian: @q{harp-like, played like a harp}.]
+[Italian: @q{harp-like, played like a harp}]
@lilypond[quote,line-width=13\cm]
\new PianoStaff <<
>>
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node articulation
should be played. Slurs, accents, staccato, and legato are all
examples of articulation.
-
@seealso
-None yet.
+No cross-references.
@node ascending interval
A distance between a starting lower note and a higher ending note.
-
@seealso
-None yet.
+No cross-references.
@node augmented interval
S: överstigande intervall,
FI: ylinouseva intervalli.
-
@seealso
@ref{interval}.
This is a placeholder for augmentation (wrt mensural notation).
-
@seealso
@ref{diminution}, @ref{mensural notation}.
@end itemize
-
@seealso
-None yet.
+No cross-references.
@node B
@item FI: H, h
@end itemize
-
@seealso
@ref{H}, @ref{Pitch names}
@node backfall
@section backfall
-
@seealso
@ref{appoggiatura}.
@node bar
@section bar
-
@seealso
@ref{measure}.
in secular music, or in sacred music to indicate congruences between parts
in otherwise-unmetered music).
-
@seealso
@ref{measure}.
@c F: clef de troisième ligne dropped
-
@seealso
@ref{bass}, @ref{tenor}.
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}.
g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
@end lilypond
-
@seealso
@ref{feathered beam}.
g8 d' c | b c a | g4. \bar "||"
@end lilypond
-
@seealso
@ref{time signature}.
@node beat repeat
@section beat repeat
-
@seealso
@ref{percent repeat}.
@node bind
@section bind
-
@seealso
@ref{tie}.
>>
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node bracket
S: ?,
FI: sulkumerkki.
-
@seealso
@ref{brace}
formed mouth piece. The brass instruments commonly used in a symphony
orchestra are trumpet, trombone, french horn, and tuba.
-
@seealso
-None yet.
+No cross-references.
@node breath mark
Indication of where to breathe in vocal and wind instrument parts.
-
@seealso
@ref{caesura}.
@section breve
@itemize
-@item US: breve, double-whole note,
-@item ES: cuadrada, breve,
-@item I: breve,
-@item F: brève,
-@item D: Brevis,
-@item NL: brevis,
-@item DK: brevis,
-@item S: brevis,
-@item FI: brevis, kaksoiskokonuotti.
+@item US: breve, double-whole note
+@item ES: cuadrada, breve
+@item I: breve
+@item F: brève
+@item D: Brevis
+@item NL: brevis
+@item DK: brevis
+@item S: brevis
+@item FI: brevis, kaksoiskokonuotti
@end itemize
-Note value twice as long as a whole note. Mainly used in pre-1650 music.
-The shortest note value generally used in white mensural notation, hence the
-name, which originally meant @q{of short duration}.
+Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
+
+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
@item FI: C, c
@end itemize
-
@seealso
@ref{Pitch names}.
}
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node cadence
S: kadens,
FI: kadenssi, lopuke.
-
@seealso
@ref{harmonic cadence}, @ref{functional harmony}.
ability to improvise. Since the middle of the 19th century, however,
most cadenzas have been written down by the composer.
-
@seealso
-None yet.
+No cross-references.
@node caesura
S: ?,
FI: välimerkki.
-[Latin: from the supine of @emph{caedere} @q{to cut down}.]
+[Latin: from the supine of @emph{caedere} @q{to cut down}]
The break between two musical phrases, sometimes (but not always) marked by a
rest or a breath mark.
-
@seealso
@ref{breath mark}.
S: kanon,
FI: kaanon, tarkka jäljittely.
-
@seealso
@ref{counterpoint}.
Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
(1/100 of an equally tempered semitone).
-
@seealso
@ref{equal temperament}, @ref{semitone}.
@node central C
@section central C
-
@seealso
@ref{middle C}.
FI: sointu.
Three or more tones sounding simultaneously. In traditional European music
-the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
+the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
(major + minor third) as well as @emph{minor} (minor + major third) chords
-may be extended with more thirds. Four-tone @emph{seventh chords} and
+may be extended with more thirds. Four-tone @emph{seventh chords} and
five-tone @emph{ninth} major chords are most often used as dominants
(functional harmony). Chords having no third above the lower notes to
define their mood are a special case called @q{open chords}. The lack of
>>
@end lilypond
-
@seealso
@ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
@ref{third}.
c1 cis d dis e f fis g gis a ais b c
@end lilypond
-
@seealso
@ref{semitone}.
Using tones extraneous to a diatonic scale (minor, major).
-
@seealso
@ref{diatonic scale}.
S: kyrkotonart,
FI: moodi, kirkkosävellaji.
-
@seealso
@ref{diatonic scale}.
\musicglyph #"clefs.F"
\strut
\musicglyph #"clefs.C"
- }
+ }
}
@end lilypond
}
@end lilypond
-
@seealso
@ref{C clef}, @ref{F clef}, @ref{G clef}.
\makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node comma
Difference in pitch between a note derived from pure tuning and the
same note derived from some other tuning method.
-
@seealso
@ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
@ref{temperament}.
4/4 time. The symbol, which resembles a capital letter C, comes from
mensural notation.
-
@seealso
@ref{mensural notation}, @ref{meter}.
S: komplementärintervall (?),
FI: täydentävä intervalli.
-
@seealso
@ref{inverted interval}.
Intervals larger than an octave.
-
@seealso
@ref{interval}.
A meter that includes a triplet subdivision within the beat, such as
6/8, 9/8, 12/8.
-
@seealso
@ref{meter}, @ref{simple meter}.
}
@end lilypond
-
@seealso
@ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
@end itemize
-
@seealso
@ref{transposing instrument}.
g4 g g a | b2 a | g4 b a a | g1 \bar "||"
@end lilypond
-
@seealso
@ref{disjunct movement}.
S: konsonans,
FI: konsonanssi, sopusointi.
-
@seealso
@ref{harmony}.
S: alt,
FI: kontra-altto.
-
@seealso
@ref{alto}.
@c Copying music required more skill than engraving. Flagged for NPOV
-
@seealso
-None yet.
+No cross-references.
@node counterpoint
>>
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node countertenor
S: kontratenor, counter tenor,
FI: kontratenori.
-
@seealso
@ref{contralto}.
g4\< a b c | d1\! \bar "|."
@end lilypond
-
@seealso
@ref{decrescendo}, @ref{hairpin}.
In a separate part notes belonging to another part with the purpose of
hinting when to start playing. Usually printed in a smaller type.
-
@seealso
-None yet.
+No cross-references.
@node custos
}
@end lilypond
+@seealso
+No cross-references.
+
+
+@node cut time
+@section cut time
@seealso
-None yet.
+@ref{alla breve}.
@node D
@item FI: D, d
@end itemize
-
@seealso
@ref{Pitch names}
Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
the beginning to the end or to a certain place marked @emph{fine}.
-
@seealso
-None yet.
+No cross-references.
@node dal niente
S: ?,
FI: tyhjästä ilmaantuen.
-[Italian: @q{from nothing}.] Used with @notation{crescendo} to indicate
+[Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
that the sound should gradually increase from nothing.
-
@seealso
@ref{al niente}.
\bar "|."
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node decrescendo
d4\> c b a | g1 \! \bar "|."
@end lilypond
-
@seealso
@ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
A distance between a starting higher note and a lower ending note.
-
@seealso
-None yet.
+No cross-references.
@node diatonic scale
S: diatonisk skala,
FI: diatoninen asteikko.
-A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
+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}).
c1 d
e^"~~ S" f g a b^"~~ S" c
}
- \lyrics {
+ \lyrics {
Major
}
>>
a1
b^"~~ S" c d e^"~~ S" f g a
}
- \lyrics {
+ \lyrics {
"Ancient (or Natural) minor"
}
>>
a1
b^"~~ S" c d e fis gis^"~~ S" a
}
- \lyrics {
+ \lyrics {
"Melodic minor ascending"
}
>>
a1
g! f!^"~~ S" e d c^"~~ S" b a
}
- \lyrics {
+ \lyrics {
"Melodic minor descending"
}
>>
@end lilypond
-
@seealso
@ref{semitone}, @ref{whole tone}.
@node didymic comma
@section didymic comma
-
@seealso
@ref{syntonic comma}.
S: förminskat intervall,
FI: vähennetty intervalli.
-
@seealso
@ref{interval}.
S: diminuendo,
FI: diminuendo, hiljentyen.
-
@seealso
@ref{decrescendo}.
This is a stub for diminution (@emph{wrt} mensural notation).
-
@seealso
@ref{augmentation}, @ref{mensural notation}.
S: ?,
FI: suora.
-
@seealso
@ref{custos}.
@lilypond[quote,relative=1]
\key a \major
\time 4/4
-\partial 8 e8 |
-a4. gis8 b a e cis |
-fis2 d4.
-\bar "||"
+ \partial 8 e8 |
+ a4. gis8 b a e cis |
+ fis2 d4.
+ \bar "||" }
@end lilypond
-
@seealso
@ref{conjunct movement}.
Another name for @ref{dissonant interval}.
-
@seealso
@ref{dissonant interval}, @ref{harmony}.
S: dissonans,
FI: dissonanssi, dissonoiva intervalli, riitasointi.
-
@seealso
@ref{harmony}.
TODO: musical example here?
-
@seealso
-None yet.
+No cross-references.
@node doit
Indicator for a indeterminately rising pitch bend. Compare with
@emph{glissando}, which has determinate starting and ending pitches.
-
@seealso
@ref{fall}, @ref{glissando}.
The fifth @emph{scale degree} in @emph{functional harmony}.
-
@seealso
@ref{functional harmony}, @ref{scale degree}.
S: dominantnonackord,
FI: dominanttinoonisointu.
-
@seealso
@ref{chord}, @ref{functional harmony}.
S: dominantseptimackord,
FI: dominanttiseptimisointu.
-
@seealso
@ref{chord}, @ref{functional harmony}.
S: dorisk tonart,
FI: doorinen moodi.
-
@seealso
@ref{diatonic scale}.
S: punkt,
FI: piste.
-
@seealso
@ref{dotted note}, @ref{note value}.
S: punkterad not,
FI: pisteellinen nuotti.
-
@seealso
@ref{note value}.
S: dubbelslag,
FI: kaksoisappogiatura, kaksoisetuhele.
-
@seealso
@ref{appoggiatura}.
Indicates the end of a section within a movement.
-
@seealso
-None yet.
+No cross-references.
@node double dotted note
S: dub@-bel@-punk@-te@-rad not,
FI: kaksoispisteellinen nuotti.
-
@seealso
@ref{note value}.
S: dubbelbe,
FI: kaksoisalennusmerkki.
-
@seealso
@ref{accidental}.
S: dubbelkors,
FI: kaksoisylennysmerkki.
-
@seealso
@ref{accidental}.
S: ?,
FI: kaksois-aika-arvomerkintä.
-
@seealso
@ref{polymetric time signature}.
A simultaneous trill on two notes, usually in the distance of a third.
-
@seealso
-None yet.
+No cross-references.
@node duple meter
S: tvåtakt,
FI: kaksoistempo.
-
@seealso
@ref{meter}.
S: duol,
FI: duoli.
-
@seealso
@ref{note value}.
S: tonlängd,
FI: kesto, aika-arvo.
-
@seealso
@ref{note value}.
one degree to another. The terms, abbreviations, and symbols used to
indicate this information are called dynamic marks.
-
@seealso
@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
@ref{diminuendo}.
@item FI: E, e
@end itemize
-
@seealso
@ref{Pitch names}
@node ecclesiastical mode
@section ecclesiastical mode
-
@seealso
@ref{church mode}, @ref{diatonic scale}.
@item FI: kahdeksasosanuotti
@end itemize
-
@seealso
@ref{note value}.
@item FI: kahdeksasosatauko
@end itemize
-
@seealso
@ref{note value}.
by a lyric tie, which looks like (and serves the same function) as a musical
tie.
-
@seealso
@ref{lyric tie}.
@node embellishment
@section embellishment
-
@seealso
@ref{ornament}.
The traditional process of music printing is done through cutting in a
plate of metal. Now also the term for the art of music typesetting.
-
@seealso
-None yet.
+No cross-references.
@node enharmonic
>>
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node equal temperament
A tuning system that divides the octave into 12 equal semitones (each of
which is precisely equal to 100 cents).
-
@seealso
@ref{cent}, @ref{semitone}, @ref{temperament}.
@end itemize
-
@seealso
@ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
@end itemize
-
@seealso
@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
@ref{octave marking}.
@item FI: F, f
@end itemize
-
@seealso
@ref{Pitch names}
>>
@end lilypond
-
@seealso
@ref{baritone clef}, @ref{strings}.
Indicator for a indeterminately falling pitch bend. Compare with
@emph{glissando}, which has determinate starting and ending pitches.
-
@seealso
@ref{doit}, @ref{glissando}.
direction of @q{feathering} -- but without changing the overall tempo
of the piece.
-
@seealso
Internals Reference: @ruser{Manual beams}
\bar "|."
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node fifth
S: kvint,
FI: kvintti.
-
@seealso
@ref{interval}.
>>
@end lilypond
-
@seealso
@ref{chord}, @ref{interval}.
Figures to the side or above the note that methodically indicate which
fingers to use while playing a passage.
-
@seealso
-None yet.
+No cross-references.
@node flag
g64-"64th" s8
@end lilypond
-
@seealso
@ref{note value}.
@end itemize
-
@seealso
@ref{articulation}, @ref{harmonics}.
S: beförtecken,
FI: alennusmerkki.
-
@seealso
@ref{accidental}.
@node forefall
@section forefall
-
@seealso
@ref{appoggiatura}.
S: forte,
FI: forte, voimakkaasti.
-[Italian: @q{loud}.]
+[Italian: @q{loud}]
Abbreviated @notation{@b{f}}. Variants include:
@item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
@end itemize
-
@seealso
-None yet.
+No cross-references.
@node fourth
S: kvart,
FI: kvartti.
-
@seealso
@ref{interval}.
If you are producing scores for eventual publication by a commercial publisher,
you may wish to procure a copy of their style manual.
-
@seealso
@ref{Frenched staff}.
Frenched staff has unneeded measures or sections removed. This is useful
for producing, for example, an @emph{ossia} staff.
-
@seealso
@ref{ossia}.
S: fuga,
FI: fuuga.
-
@seealso
@ref{counterpoint}.
>>
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node G
@item FI: G, g
@end itemize
-
@seealso
@ref{Pitch names}
@lilypond[quote,notime]
\relative c'' {
\override Staff.Clef #'full-size-change = ##t
- \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
- \clef french
- g1
- \clef treble
- g1
- \clef "G^8"
- g1
- \clef "G_8"
- g1
+ \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
+ \clef french
+ g1
+ \clef treble
+ g1
+ \clef "G^8"
+ g1
+ \clef "G_8"
+ g1
}
\addlyrics {
- "french violin clef"
- "violin clef"
- "octave up"
- "octave down"
-}
+ "french violin clef"
+ "violin clef"
+ "octave up"
+ "octave down"
+ }
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node glissando
Letting the pitch slide fluently from one note to the other.
-
@seealso
-None yet.
+No cross-references.
@node grace notes
Notes printed in small types to indicate that their time values are not
counted in the rhythm of the bar.
-
@seealso
@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
@ref{ornament}.
A combination of two staves with a brace. Usually used for piano music.
-
@seealso
@ref{brace}.
[Italian] Slow, solemn.
-
@seealso
-None yet.
+No cross-references.
@node gruppetto
@section gruppetto
-
@seealso
@ref{turn}.
usage. In the standard usage of these countries, @notation{B} means
@notation{B flat}.
-
@seealso
@ref{Pitch names}, @ref{B}.
c1\!
@end lilypond
-
@seealso
@ref{crescendo}, @ref{decrescendo}.
@item FI: puolinuotti.
@end itemize
-
@seealso
@ref{note value}.
@item FI: puolitauko.
@end itemize
-
@seealso
@ref{note value}.
natural harmonics, which are those played on the open string; and
artificial harmonics, which are produced on stopped strings.
-
@seealso
-None yet.
+No cross-references.
@node harmony
Consonances:
@lilypond[quote,notime,relative=2,line-width=13.0\cm]
-<g g>1_"unison " s
-<g b>_"third " s
-<g c>_"fourth " s
-<g d'>_"fifth " s
-<g e'>_"sixth " s
-<g g'>_"octave " s
-<g b'>_"tenth" s s
+ <g g>1_"unison " s
+ <g b>_"third " s
+ <g c>_"fourth " s
+ <g d'>_"fifth " s
+ <g e'>_"sixth " s
+ <g g'>_"octave " s
+ <g b'>_"tenth" s s
@end lilypond
Dissonances:
@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
+ <g a>1_"second " s s
+ <g f'>_"seventh " s s
+ <g a'>_"ninth" s s
@end lilypond
For harmony that uses three or more notes, see @ref{chord}.
-
@seealso
@ref{chord}.
and is therefore a polymeter (second definition) of considerable antiquity.
-
@seealso
@ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
Music in which one voice leads melodically supported by the other voices in
the same rhythm (more or less). In contrast to @emph{polyphony}.
-
@seealso
@ref{polyphony}.
+
@node hymn meter
@section hymn meter
@item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
@end itemize
-
@seealso
-None yet.
+No cross-references.
@node interval
S: intervall,
FI: intervalli, kahden sävelen korkeusero.
-Difference in pitch between two notes. Intervals may be perfect, minor,
-major, diminished, or augmented. The augmented fourth and the diminished
-fifth are identical (or @emph{enharmonic}) and are called @emph{tritonus}
-because they consist of three whole tones. The addition of such two
-intervals forms an octave.
-
-@lilypond[quote,notime,line-width=13.0\cm]
-<<
- \context Voice \relative c'' {
- < 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[quote,notime,line-width=13.0\cm]
-<<
- \context Staff \relative c'' {
- <g c >1^"perfect"
- <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
+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[quote,notime,line-width=13.0\cm]
<<
- \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"
- }
- \context Lyrics \lyrics {
- "seventh " "seventh " "seventh " "octave "
- "ninth " "ninth " "tenth " "tenth"
- }
+\context Voice \relative c'' {
+% Prime or unison
+ < g g >1
+ < 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"
+% 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 {
+ "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}.
unstable chord position.
@end table
-
@seealso
-None yet.
+No cross-references.
@node inverted interval
<g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node just intonation
Tuning system in which the notes are obtained by adding and subtracting
natural fifths and thirds.
-
@seealso
@ref{temperament}.
According to the 12@w{ }tones of the @emph{chromatic scale} there are
12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
-
@seealso
@ref{chromatic scale}, @ref{key signature}.
The sharps or flats appearing at the beginning of each staff indicating the
key of the music.
-
@seealso
@ref{accidental}.
S: ?,
FI: antaa väristä.
-[French: @q{Let vibrate}.] Most frequently associated with harp
+[French: @q{Let vibrate}] Most frequently associated with harp
parts. Marked @notation{l.v.} in the score.
-
@seealso
-None yet.
+No cross-references.
@node largo
called because of its strong tendency to @q{lead up} (resolve upwards)
to the tonic scale degree.
-
@seealso
-@ref{scale degree}, @ref{semitone}.
+@ref{scale degree, @ref{semitone}.
@node ledger line
c''1
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node legato
>>
@end lilypond
-
@seealso
@ref{staccato}.
@node legato curve
@section legato curve
-
@seealso
@ref{slur}, @ref{legato}.
@node leger line
@section leger line
-
@seealso
@ref{ledger line}.
system of the white mensural notation, the need for ligatures to denote such
patterns disappeared.
-
@seealso
@ref{mensural notation}.
Also, the name of a music typesetting program.
-
@seealso
-None yet.
+No cross-references.
@node line
S: notlinje,
FI: viiva, nuottiviiva.
-
@seealso
@ref{staff}.
S: ?,
FI: kirjoitetussa äänenkorkeudessa.
-[Italian: @q{place}.] Instruction to play the following passage at the
+[Italian: @q{place}] Instruction to play the following passage at the
written pitch. Cancels octave mark (q.v.).
-
@seealso
@ref{octave mark}, @ref{octave marking}.
S: långt förslag,
FI: pitkä appoggiatura, pitkä etuhele.
-
@seealso
@ref{appoggiatura}.
@item FI: longa.
@end itemize
-Note value: double length of @notation{breve}.
+Note value: twice the length of a @notation{breve}.
@lilypond[quote,notime,relative=2]
\override NoteHead #'style = #'mensural
g\longa g\breve
@end lilypond
-
@seealso
@ref{breve}, @ref{note value}.
@c TODO: add languages
-
@seealso
@ref{elision}.
@c Definition?
-
@seealso
-None yet.
+No cross-references.
@node major
S: dur,
FI: duuri.
-
@seealso
@ref{diatonic scale}.
S: stort intervall,
FI: suuri intervalli.
-
@seealso
@ref{interval}.
+@node maxima
+@section maxima
+
+ES: ?,
+I: ?,
+F: ?,
+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 values}.
+
+
@node meantone temperament
@section meantone temperament
temperament only a limited set of keys are playable. Used for tuning
keyboard instruments for performance of pre-1650 music.
-
@seealso
@ref{cent}, @ref{temperament}.
Such groups in numbers of two or more recur consistently throughout the
composition and are separated from each other by bar lines.
-
@seealso
@ref{bar line}, @ref{beat}, @ref{meter}.
@node measure repeat
@section measure repeat
-
@seealso
@ref{percent repeat}.
@end itemize
-
@seealso
@ref{chord}, @ref{functional harmony}, @ref{relative key}.
A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
on one syllable, especially as applied to liturgical chant.
-
@seealso
-None yet.
+No cross-references.
@node melisma line
S: ?,
FI: melismaviiva.
-
@seealso
@ref{extender line}.
@node melodic cadence
@section melodic cadence
-
@seealso
@ref{cadenza}.
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: ?,
+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
the source, with sharps in the accompaniment where the voice has flats and
@emph{vice versa}.)
-
Compound duple meter (unknown):
@lilypond[quote,line-width=13.0\cm]
TODO: add information from discussion on lilypond-user related to polymeter.
-
@seealso
@ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
followed acknowledged Winkler as the creator, but by then Mälzel had already
sold many of them, and people had taken to calling it a Mälzel Metronome.
-
@seealso
@ref{metronome mark}.
@notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
@emph{anglice}).
-
@seealso
@ref{metronome}
@node metronomic indication
@section metronomic indication
-
@seealso
@ref{metronome mark}
S: ?,
FI: kohtalaisen, melko.
-[Italian: @q{medium}.]
+[Italian: @q{medium}]
Used to qualify other indications, such as:
@end itemize
-
@seealso
-None yet.
+No cross-references.
@node mezzo-soprano
The female voice between soprano and contralto.
-
@seealso
@ref{soprano}, @ref{contralto}.
@lilypond[quote,notime,relative=1]
\override Staff.Clef #'full-size-change = ##t
-\clef bass c1 s
-\clef alto c s
-\clef treble c s
+ \clef bass c1 s
+ \clef alto c s
+ \clef treble c s
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node minor
S: moll,
FI: molli.
-
@seealso
@ref{diatonic scale}.
S: litet intervall,
FI: pieni intervalli.
-
@seealso
@ref{interval}.
@node mixolydian mode
@section mixolydian mode
-
@seealso
@ref{diatonic scale}.
S: modus, skala,
FI: moodi, kirkkosävelasteikko.
-
@seealso
@ref{church mode}, @ref{diatonic scale}.
of a @ref{sonata form} movement modulates to the dominant key if the
key is major and to the @ref{relative key} if the key is minor.
-
@seealso
-None yet.
+No cross-references.
@node mordent
S: mordent,
FI: mordent, korukuvio.
-
@seealso
@ref{ornament}.
@node motif
@section motif
-
@seealso
@ref{motive}.
}
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node movement
S: sats,
FI: osa.
-Greater musical works like @ref{symphony} and @ref{sonata} most often
-consist of several -- more or less -- independent pieces called
-movements.
-
+Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
+several -- more or less -- independent pieces called movements.
@seealso
-None yet.
+No cross-references.
@node multi-measure rest
a1
@end lilypond
-
@seealso
@ref{longa}, @ref{breve}.
S: återställningstecken,
FI: palautusmerkki.
-
@seealso
@ref{accidental}.
@node neighbor tones
@section neighbor tones
-
@seealso
@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
@ref{ornament}.
S: nona,
FI: nooni.
-
@seealso
@ref{interval}.
@node non-legato
@section non-legato
-
@seealso
@ref{legato}.
and @ref{note} is strongly recommended. Briefly, one sees a note,
and hears a tone.
-
@seealso
-None yet.
+No cross-references.
@node note head
For percussion instruments (often having no defined pitch) the note head may
indicate the instrument.
-
@seealso
@ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
@node note names
@section note names
-
@seealso
@ref{Pitch names}
S: notvärde,
FI: nuotin aika-arvo.
-Note values (durations) are measured as fractions -- normally half -- of the
-next higher note value. The longest duration in current use is the
-@emph{breve}, but sometimes (especially music from the Baroque or earlier) the
-double-length note value @emph{longa} or the quadruple-length note value
-@emph{maxima} are used.
+Note values (durations) are measured as fractions—in modern usage, one-half—of
+the next higher note value. The longest duration in current use is the
+@notation{breve} (equal to two whole notes), but sometimes (especially in music
+dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
+or @notation{maxima} (eight whole notes) may be found.
+
+As used in mensural notation, this fraction was more flexible: it could also
+be one-third the higher note value. Composers indicated which proportions
+to use with various signs—two of which survive to the present day: the
+C-shaped sign for @notation{common time}, and the slashed C for
+@notation{alla breve} or @notation{cut-time}.
@c TODO -- add maxima to this example, in a way that doesn't break it.
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[quote,line-width=13.0\cm]
\relative c'' {
}
@end lilypond
-
@seealso
-None yet.
+@ref{common time}.
@node octavation
@section octavation
-
@seealso
@ref{octave marking}.
For uses like @notation{all'ottava} or @notation{8va} with an extender line or
bracket, or @notation{loco} see octave marking.
-
@seealso
@ref{interval}, @ref{octave marking}.
In the phrases above, @notation{quindicesima} is sometimes replaced with
@notation{quindecima}, which is Latin.
-Finally, the music on an entire staff can be marked to be played in a
-different octave by putting a small 8 or 15 above or below the clef at the
-beginning. This octave mark can be applied to any clef, but it is most
-frequently used with the G and F clefs.
-
+The music on an entire staff can be marked to be played in a different octave by
+putting a small 8 or 15 above or below the clef at the beginning. This octave
+mark can be applied to any clef, but it is most frequently used with the G and F
+clefs.
@seealso
@ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
For a list of the specific marks used, see @ref{octave mark}.
-
@seealso
@ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
@node octave sign
@section octave sign
-
@seealso
@ref{octave mark}.
>>
@end lilypond
-
@seealso
@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
score, usually only a few measures long, which presents another version
of the music, for example for small hands.
-
@seealso
-None yet.
+No cross-references.
@node part
@end itemize
-
@seealso
@ref{counterpoint}
@node pause
@section pause
-
@seealso
@ref{fermata}.
@node pennant
@section pennant
-
@seealso
@ref{flag}.
@lilypond[quote,relative=2,line-width=13.0\cm]
\time 4/4
-\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" | }
+ \repeat percent 4 { c4_"Beat (or slash) repeat" }
+ \repeat percent 2 { c4 e g b_"Measure repeat" }
+ \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
@end lilypond
-
@seealso
@ref{repeat},
@uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
and xylophone.
-
@seealso
-None yet.
+No cross-references.
@node perfect interval
S: rent intervall,
FI: puhdas intervalli.
-
@seealso
@ref{interval}.
A natural division of the melodic line, comparable to a sentence of speech.
-
@seealso
@ref{caesura}.
The clear rendering in musical performance of the @notation{phrases} of the
melody. Phrasing may be indicated by a @notation{slur}.
-
@seealso
@ref{phrase}, @ref{slur}.
@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
@emph{mezzo piano} (@b{mp}) medium soft.
-
@seealso
-None yet.
+No cross-references.
@node pickup
S: upptakt,
FI: kohotahti.
-
@seealso
@ref{anacrusis}.
@end enumerate
-
@seealso
@ref{Pitch names}.
A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
the strings.
-
@seealso
-None yet.
+No cross-references.
@node polymeter
@end itemize
-
@seealso
@ref{polymetric} (adj.)
Characterized by @emph{polymeter}: using two or more metric frameworks
simultaneously or in alternation.
-
@seealso
@ref{polymeter} (noun)
A time signature that indicates regularly alternating polymetric time.
-
@seealso
@ref{polymetric}.
Music written in a combination of several simultaneous voices (parts)
of a more or less pronounced individuality.
-
@seealso
@ref{counterpoint}.
without changing the bow's direction. It is used for passages of a
@notation{cantabile} character.
-
@seealso
@ref{legato}.
Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
denotes the highest possible degree of speed.
-
@seealso
-None yet.
+No cross-references.
@node proportion
S: ?,
FI: suhde.
-[Latin: @emph{proportio}.] Described in great detail by Gaffurius, in
+[Latin: @emph{proportio}] Described in great detail by Gaffurius, in
@emph{Practica musicae} (published in Milan in 1496). In mensural notation,
proportion is:
@itemize
@item 2:1 (or simply 2), expressed by a vertical line through the
-mensuration sign (the origin of the @q{cut-time} time signature), or by
-turning the sign backwards
+mensuration sign (the origin of the @notation{alla breve} time signature),
+or by turning the sign backwards
@item 3:1 (or simply 3)
@item 3:2 (@emph{sesquialtera})
@end itemize
@c TODO: add an example or two. O => 4/3, and its modern equivalent
-
@seealso
@ref{mensural notation}.
than the C obtained by adding 7 octaves. The difference between those two
pitches is the Pythagorean comma.
-
@seealso
@ref{cent}, @ref{temperament}.
S: kvartol,
FI: kvartoli.
-
@seealso
@ref{note value}.
and D^m7 are all identical). The last three chords are not commonly used
except in jazz.
-
@seealso
@ref{chord}.
@item FI: neljäsosanuotti
@end itemize
-
@seealso
@ref{note value}.
@item FI: neljäsosatauko
@end itemize
-
@seealso
@ref{note value}.
An interval equal to half a semitone.
-
@seealso
@ref{interval}
S: kvintol,
FI: kvintoli.
-
@seealso
@ref{note value}.
[Italian] A performance indication, abbreviated "rall.".
-
@seealso
@ref{ritardando}.
\bar "||"
@end lilypond
-
@seealso
@ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
}
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node rest
@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
@c specify the rest's value.
-
@seealso
@ref{note value}.
@end itemize
-
@seealso
-None yet.
+No cross-references.
@node ritardando
Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
-
@seealso
-None yet.
+No cross-references.
@node ritenuto
Immediate reduction of speed.
-
@seealso
-None yet.
+No cross-references.
@node scale
S: skala,
FI: asteikko, sävelasteikko.
-
@seealso
@ref{diatonic scale}.
>>
@end lilypond
-
@seealso
@ref{functional harmony}.
S: ?,
FI: epätavallinen viritys.
-[Italian: @emph{scordare}, @q{to mistune}.] Unconventional
+[Italian: @emph{scordare}, @q{to mistune}] Unconventional
tuning of stringed instruments, particularly lutes or violins. Used
to:
Tunings that could be called @var{scordatura} first appeared early in
the 16th Century and became commonplace in the 17th.
-
@seealso
-None yet.
+No cross-references.
@node score
instrument is to play, each voice to sing, having each part arranged
one underneath the other on different staves @ref{staff}.
-
@seealso
-None yet.
+No cross-references.
@node second
S: sekund,
FI: sekunti.
-The @ref{interval} between two neighboring tones of a scale. A
-@ref{diatonic scale} consists of alternating @ref{semitone}s and
-@ref{whole tone}s, hence the size of a second depends on the scale
-degrees in question.
+The interval between two neighboring tones of a scale. A diatonic scale
+consists of alternating semitones and whole tones, hence the size of a
+second depends on the scale degrees in question.
+
+@seealso
+@ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
+
+
+@node semibreve
+@section semibreve
+
+@itemize
+@item US: whole note,
+@item ES: redonda,
+@item I: semibreve,
+@item F: ronde,
+@item D: Ganze, ganze Note,
+@item NL: hele noot,
+@item DK: helnode,
+@item S: helnot,
+@item FI: kokonuotti.
+@end itemize
+
+Note value: called @notation{whole note} in the US.
+The semibreve is the basis for the @notation{tactus} in mensural notation
+(i.e. music written before ca. 1600).
@seealso
-None yet.
+@ref{mensural notation}, @ref{note value}.
@node semitone
FI: puolisävel.
The interval of a minor second. The (usually) smallest interval in European
-composed music. The interval between two neighbouring tones on the piano
+composed music. The interval between two neighboring tones on the piano
keyboard -- including black and white keys -- is a semitone. An octave may
be divided into 12@w{ }semitones.
g1 gis s a bes s b! c
@end lilypond
-
@seealso
@ref{interval}, @ref{chromatic scale}.
S: septim,
FI: septimi.
-
@seealso
@ref{interval}.
@node sextolet
@section sextolet
-
@seealso
@ref{sextuplet}, @ref{note value}.
S: sextol,
FI: sekstoli.
-
@seealso
@ref{note value}.
@node shake
@section shake
-
@seealso
@ref{trill}.
S: kors@-förtecken,
FI: korotusmerkki.
-
@seealso
@ref{accidental}.
S: ?,
FI: samoin.
-[Italian: @q{in the same manner}.] Performance direction: the music thus marked
+[Italian: @q{in the same manner}] Performance direction: the music thus marked
is to be played in the same manner (i.e. with the same articulations, dynamics,
etc.) as the music that precedes it.
-
@seealso
TODO: Where else could I refer the reader?
A meter in which the basic beat is subdivided in two: that is, a meter
that does not include triplet subdivision of the beat.
-
@seealso
@ref{compound meter}, @ref{meter}.
@item FI: kuudestoistaosanuotti
@end itemize
-
@seealso
@ref{note value}.
@item FI: kuudestoistaosatauko
@end itemize
-
@seealso
@ref{note value}.
S: sext,
FI: seksti.
-
@seealso
@ref{interval}.
@item FI: kuudeskymmenesneljäsosanuotti
@end itemize
-
@seealso
@ref{note value}.
@item FI: kuudeskymmenesneljäsosatauko
@end itemize
-
@seealso
@ref{note value}.
@node slash repeat
@section slash repeat
-
@seealso
@ref{percent repeat}.
played @ref{legato}, e.g., with one stroke of the violin bow or with
one breath in singing.
-
@seealso
-None yet.
+No cross-references.
@node solmization
@emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
(@emph{ti})).
-
@seealso
@ref{scale}, @ref{scale degree}.
accompaniment, which consists of three or four independant pieces,
called movements.
-
@seealso
-None yet.
+No cross-references.
@node sonata form
@notation{dominant} if the @notation{tonic} is @notation{major}, and in the
@notation{relative key} if the tonic is @notation{minor}.
-
@seealso
@ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
@ref{symphony}, @ref{tonic}.
@node song texts
@section song texts
-
@seealso
@ref{lyrics}.
The highest female voice.
-
@seealso
-None yet.
+No cross-references.
@node staccato
@lilypond[quote,relative=2]
\key d \major
\time 4/4
-\partial 8 a8 |
-d4-\staccato cis-\staccato b-\staccato cis-\staccato |
-d2.
-\bar "||"
+ \partial 8 a8 |
+ d4-\staccato cis-\staccato b-\staccato cis-\staccato |
+ d2.
+ \bar "||"
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node staff
indicating (in connection with a @ref{clef}) their pitch. Staves for
@ref{percussion} instruments may have fewer lines.
-
@seealso
-None yet.
+No cross-references.
@node staves
@section staves
-
@seealso
@ref{staff}.
@lilypond[quote,notime,relative=2]
\set Score.autoBeaming = ##f
-g2_"1/2" g' s16
-g,4_"1/4" g' s16
-g,8_"1/8" g' s16
-g,16_"1/16" g' s16
+ 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}.
S: ?,
FI: kiihdyttäen, nopeuttaen.
-[Italian: @q{pressing}.] Pressing, urging, or hastening the time, as to a
+[Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
climax.
-
@seealso
@ref{accelerando}.
commonly used in a symphony orchestra are violin, viola, violoncello,
and double bass.
-
@seealso
-None yet.
+No cross-references.
@node strong beat
S: betonat taktslag,
FI: tahdin vahva isku.
-
@seealso
@ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
The fourth @notation{scale degree}.
-
@seealso
@ref{functional harmony}, @ref{scale degree}.
The sixth @notation{scale degree}.
-
@seealso
@ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
The seventh @ref{scale degree}.
-
@seealso
@ref{functional harmony}, @ref{scale degree}.
Indicates that the indicated passage (or note) should be played on the
G string.
-
@seealso
-None yet.
+No cross-references.
@node superdominant
The sixth @ref{scale degree}.
-
@seealso
@ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
The second @ref{scale degree}.
-
@seealso
@ref{functional harmony}, @ref{scale degree}.
A symphony may be defined as a @emph{sonata} for orchestra.
-
@seealso
@ref{sonata}.
c4
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node syntonic comma
This comma is also known as the comma of Didymus, or didymic comma.
-
@seealso
@ref{Pythagorean comma}
The collection of staves (@notation{staff}), two or more, as used for writing
down of keyboard, chamber, choral, or orchestral music.
-
@seealso
@ref{staff}.
Systems of tuning in which the intervals deviate from the acoustically
pure intervals.
-
@seealso
@ref{meantone temperament}, @ref{equal temperament}.
@notation{adagio}, @notation{andante}, @notation{allegro}, and
@notation{presto}.
-
@seealso
@ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
The highest @q{natural} male voice (apart from @notation{countertenor}).
-
@seealso
@ref{countertenor}.
S: decima,
FI: desimi.
-
@seealso
@ref{note value}.
An indication that a particular note should be held for the whole
length, although this can vary depending on the composer and era.
-
@seealso
-None yet.
+No cross-references.
@node third
S: ters,
FI: terssi.
-
@seealso
@ref{interval}.
@item FI: kolmaskymmeneskahdesosanuotti
@end itemize
-
@seealso
@ref{note value}.
@item FI: kolmaskymmeneskahdesosatauko
@end itemize
-
@seealso
@ref{note value}.
@node thorough bass
@section thorough bass
-
@seealso
@ref{figured bass}.
@node time
@section time
-
@seealso
@ref{meter}.
meter. It most often takes the form of a fraction, but a few signs
derived from mensural notation and proportions are also employed.
-
@seealso
-@ref{mensural notation}, @ref{meter}.
+@ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
@node tone
@c Music from the 20th century may be based on atonal sounds. Meh, not so much
-
@seealso
-None yet.
+No cross-references.
@node tonic
The first @notation{scale degree}.
-
@seealso
@ref{functional harmony}, @ref{scale degree}.
@end itemize
-
@seealso
@ref{concert pitch}.
}
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node treble clef
S: diskantklav,
FI: diskanttiavain.
-
@seealso
@ref{G clef}.
@end enumerate
@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 }
+ e2:32_"a"
+ f:32 [ e8:16 f:16 g:16 a:16 ] s4
+ \repeat tremolo 8 { e32_"b" g }
@end lilypond
-
@seealso
@ref{strings}
S: treklang,
FI: kolmisointu.
-
@seealso
@ref{chord}.
S: drill,
FI: trilli.
-
@seealso
@ref{ornament}.
S: tretakt,
FI: kolmijakoinen.
-
@seealso
@ref{meter}.
S: triol,
FI: trioli.
-
@seealso
@ref{note value}.
S: tritonus,
FI: tritonus.
-
@seealso
@ref{interval}.
@emph{A} above middle C (440 cps/Hz), which is the international tuning
standard. Tuning forks for other pitches are available.
-
@seealso
@ref{middle C}.
indicated with a bracket and a number indicating the number of
subdivisions.
-
@seealso
@ref{triplet}, @ref{note value}.
S: dubbelslag,
FI: korukuvio.
-
@seealso
@ref{ornament}.
(voices) or by the whole orchestra (choir), either at exactly the same
pitch or in a different octave.
-
@seealso
-None yet.
+No cross-references.
@node upbeat
S: upptakt,
FI: kohotahti.
-
@seealso
@ref{anacrusis}
@end itemize
-
@seealso
-None yet.
+No cross-references.
@node volta
S: ?,
FI: yksi kertauksen maaleista.
-[Italian: @q{time} (instance, not duration).] An ending, such as a first
+[Italian: @q{time} (instance, not duration)] An ending, such as a first
or second ending. LilyPond extends this idea to any number, and allows any text
(not just a number) -- to serve as the @notation{volta} text.
-
@seealso
-None yet.
+No cross-references.
@node weak beat
S: obetonat taktslag,
FI: tahdin heikko isku.
-
@seealso
@ref{beat}, @ref{measure}, @ref{rhythm}.
@item FI: kokonuotti
@end itemize
-
@seealso
@ref{note value}.
@item FI: kokotauko
@end itemize
-
@seealso
@ref{note value}.
on the piano keyboard with exactly one key between them -- including
black and white keys -- is a whole tone.
-
@seealso
@ref{interval}.
commonly used in a symphony orchestra are flute, oboe, clarinet,
saxophone, and bassoon.
-
@seealso
-None yet.
+No cross-references.
@node Duration names notes and rests
@end multitable
-
@seealso
@ref{mensural notation}
projects / lilypond.git / commitdiff