+++ /dev/null
-\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
-@setfilename music-glosssary.info
-@settitle Music Glossary
-@documentencoding UTF-8
-@documentlanguage en
-
-@include macros.itexi
-
-@afourpaper
-
-@c see lilypond.tely for info installation note
-@dircategory LilyPond
-@direntry
-* Glossary: (lilypond/music-glossary). Glossary of music terms.
-@end direntry
-
-@titlepage
-@title Music Glossary
-@author Christian Mondrup @c Original author of LilyPond glossary
-@c Danish glossary
-@author François Pinard @c Original glossary of GNU music project,
-@c French glossary
-@author Mats Bengtsson @c Swedish glossary
-@author David González @c Spanish glossary
-@author Bjoern Jacke @c German glossary
-@author Neil Jerram @c English glossary translations
-@author Heikki Junes @c Finnish glossary
-@author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
-@author Adrian Mariano @c Italian glossary
-@author Han-Wen Nienhuys @c Dutch glossary
-@author Jan Nieuwenhuizen @c Dutch glossary
-
-@c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
-@c Updates to the German translation by Till Rettig, 12/07
-
-Copyright @copyright{} 1999--2009 by the authors
-
- Permission is granted to copy, distribute and/or modify this document
- under the terms of the GNU Free Documentation License, Version 1.1
- or any later version published by the Free Software Foundation,
- without Invariant Sections.
-
-@end titlepage
-
-
-@c TODO: multiple omfcreators?
-@ignore
-@omfcreator Christian Mondrup, Kurt Kroon
-@omfdescription Glossary of musical terms with translations
-@omftype glossary
-@omfcategory Applications|Publishing
-@omflanguage English
-@end ignore
-
-@ifnottex
-@node Top
-@top Music glossary
-@end ifnottex
-
-
-@ifnottex
-
-@ifhtml
-@ifclear bigpage
-This document is also available as a
-@uref{source/Documentation/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--2009 by the authors
-
- Permission is granted to copy, distribute and/or modify this document
- under the terms of the GNU Free Documentation License, Version 1.1
- or any later version published by the Free Software Foundation,
- without Invariant Sections.
-
-@*
-@end ifnottex
-
-@c @pagesizes 10.3in
-@c @everyheading @| @thispage @|
-@c @evenheading @thispage @| @|
-@c @oddheading @| @| @thispage @|
-
-This is the Music Glossary (MG) for GNU LilyPond version @version{}.
-For more information about how this fits with the other
-documentation, see @rlearning{About the documentation}.
-
-
-@c arrowref
-@macro aref{word}
-@iftex
-@w{@expansion{}@strong{\word\}}@c
-@end iftex
-@ifnottex
-@expansion{}@ref{\word\, @strong{\word\}}@c
-@end ifnottex
-@end macro
-
-@menu
-* Musical terms A-Z::
-* Duration names notes and rests::
-* Pitch names::
-@end menu
-
-
-@node Musical terms A-Z
-@chapter Musical terms A-Z
-
-Languages in this order.
-@itemize
-@item UK - British English (where it differs from American English)
-@item ES - Spanish
-@item I - Italian
-@item F - French
-@item D - German
-@item NL - Dutch
-@item DK - Danish
-@item S - Swedish
-@item FI - Finnish
-@end itemize
-
-
-@menu
-* A::
-* a due::
-* accelerando::
-* accent::
-* accessory::
-* acciaccatura::
-* accidental::
-* adagio::
-* al niente::
-* alla breve::
-* allegro::
-* alteration::
-* alto::
-* alto clef::
-* ambitus::
-* anacrusis::
-* ancient minor scale::
-* andante::
-* appoggiatura::
-* arpeggio::
-* articulation::
-* ascending interval::
-* augmentation::
-* augmented interval::
-* autograph::
-* B::
-* backfall::
-* bar::
-* bar line::
-* baritone::
-* baritone clef::
-* bass::
-* bass clef::
-* beam::
-* beat::
-* beat repeat::
-* bind::
-* brace::
-* bracket::
-* brass::
-* breath mark::
-* breve::
-* C::
-* C clef::
-* cadence::
-* cadenza::
-* caesura::
-* canon::
-* cent::
-* central C::
-* chord::
-* chromatic scale::
-* chromaticism::
-* church mode::
-* clef::
-* cluster::
-* comma::
-* common meter::
-* common time::
-* complement::
-* compound interval::
-* compound meter::
-* compound time::
-* concert pitch::
-* conjunct movement::
-* consonance::
-* contralto::
-* copying music::
-* counterpoint::
-* countertenor::
-* crescendo::
-* cue-notes::
-* custos::
-* cut time::
-* D::
-* da capo::
-* dal niente::
-* dal segno::
-* decrescendo::
-* descending interval::
-* diatonic scale::
-* didymic comma::
-* diminished interval::
-* diminuendo::
-* diminution::
-* direct::
-* disjunct movement::
-* dissonance::
-* dissonant interval::
-* divisio::
-* doit::
-* dominant::
-* dominant ninth chord::
-* dominant seventh chord::
-* dorian mode::
-* dot (augmentation dot)::
-* dotted note::
-* double appoggiatura::
-* double bar line::
-* double dotted note::
-* double flat::
-* double sharp::
-* double time signature::
-* double trill::
-* duple meter::
-* duplet::
-* duration::
-* dynamics::
-* E::
-* ecclesiastical mode::
-* eighth note::
-* eighth rest::
-* elision::
-* embellishment::
-* engraving::
-* enharmonic::
-* equal temperament::
-* expression mark::
-* extender line::
-* F::
-* F clef::
-* fall::
-* feathered beam::
-* fermata::
-* fifth::
-* figured bass::
-* fingering::
-* flag::
-* flageolet::
-* flat::
-* forefall::
-* forte::
-* fourth::
-* Frenched score::
-* Frenched staff::
-* Frenched staves::
-* fugue::
-* functional harmony::
-* G::
-* G clef::
-* glissando::
-* grace notes::
-* grand staff::
-* grave::
-* gruppetto::
-* H::
-* hairpin::
-* half note::
-* half rest::
-* harmonic cadence::
-* harmonics::
-* harmony::
-* hemiola::
-* homophony::
-* hymn meter::
-* interval::
-* inversion::
-* inverted interval::
-* just intonation::
-* key::
-* key signature::
-* laissez vibrer::
-* largo::
-* leading note::
-* ledger line::
-* legato::
-* legato curve::
-* leger line::
-* ligature::
-* lilypond::
-* line::
-* loco::
-* long appoggiatura::
-* longa::
-* lyric tie::
-* lyrics::
-* major::
-* major interval::
-* maxima::
-* meantone temperament::
-* measure::
-* measure repeat::
-* mediant::
-* melisma::
-* melisma line::
-* melodic cadence::
-* mensural notation::
-* mensuration sign::
-* meter::
-* metronome::
-* metronome mark::
-* metronomic indication::
-* mezzo::
-* mezzo-soprano::
-* middle C::
-* minor::
-* minor interval::
-* mixolydian mode::
-* mode::
-* modulation::
-* mordent::
-* motif::
-* motive::
-* movement::
-* multi-measure rest::
-* natural::
-* neighbor tones::
-* ninth::
-* non-legato::
-* note::
-* note head::
-* note names::
-* note value::
-* octavation::
-* octave::
-* octave mark::
-* octave marking::
-* octave sign::
-* ornament::
-* ossia::
-* part::
-* pause::
-* pennant::
-* percent repeat::
-* percussion::
-* perfect interval::
-* phrase::
-* phrasing::
-* piano::
-* pickup::
-* pitch::
-* pizzicato::
-* polymeter::
-* polymetric::
-* polymetric time signature::
-* polyphony::
-* portato::
-* presto::
-* proportion::
-* Pythagorean comma::
-* quadruplet::
-* quality::
-* quarter note::
-* quarter rest::
-* quarter tone::
-* quintuplet::
-* rallentando::
-* relative key::
-* repeat::
-* rest::
-* rhythm::
-* ritardando::
-* ritenuto::
-* scale::
-* scale degree::
-* scordatura::
-* score::
-* second::
-* semibreve::
-* semitone::
-* seventh::
-* sextolet::
-* sextuplet::
-* shake::
-* sharp::
-* simile::
-* simple meter::
-* sixteenth note::
-* sixteenth rest::
-* sixth::
-* sixty-fourth note::
-* sixty-fourth rest::
-* slash repeat::
-* slur::
-* solmization::
-* sonata::
-* sonata form::
-* song texts::
-* soprano::
-* staccato::
-* staff::
-* staves::
-* stem::
-* stringendo::
-* strings::
-* strong beat::
-* subdominant::
-* submediant::
-* subtonic::
-* sul G::
-* superdominant::
-* supertonic::
-* symphony::
-* syncopation::
-* syntonic comma::
-* system::
-* temperament::
-* tempo indication::
-* tenor::
-* tenth::
-* tenuto::
-* third::
-* thirty-second note::
-* thirty-second rest::
-* thorough bass::
-* tie::
-* time::
-* time signature::
-* tone::
-* tonic::
-* transposing instrument::
-* transposition::
-* treble clef::
-* tremolo::
-* triad::
-* trill::
-* triple meter::
-* triplet::
-* tritone::
-* tuning fork::
-* tuplet::
-* turn::
-* unison::
-* upbeat::
-* voice::
-* volta::
-* weak beat::
-* whole note::
-* whole rest::
-* whole tone::
-* woodwind::
-@end menu
-
-
-@node A
-@section A
-
-@itemize
-@item ES: la
-@item I: la
-@item F: la
-@item D: A, a
-@item NL: a
-@item DK: a
-@item S: a
-@item FI: A, a
-@end itemize
-
-@seealso
-@ref{Pitch names}.
-
-
-@node a due
-@section a due
-
-ES: a dos,
-I: a due,
-F: à deux,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: kahdelle.
-
-Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores, @notation{a
-due} indicates that:
-
-@enumerate
-
-@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,
-or groups of players (@q{desks}).
-
-@end enumerate
-
-@seealso
-No cross-references.
-
-
-@node accelerando
-@section accelerando
-
-ES: accelerando,
-I: accelerando,
-F: accelerando, en accélérant,
-D: accelerando, schneller werden,
-NL: accelerando,
-DK: accelerando,
-S: accelerando,
-FI: accelerando, kiihdyttäen.
-
-[Italian: @q{speed up, accelerate}]
-
-Increase tempo
-
-@seealso
-No cross-references.
-
-
-@node accent
-@section accent
-
-ES: acento,
-I: accento,
-F: accent,
-D: Akzent,
-NL: accent,
-DK: accent,
-S: accent,
-FI: aksentti, korostus.
-
-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: ?,
-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}.
-
-
-@node accidental
-@section accidental
-
-ES: alteración accidental,
-I: accidento,
-F: altération accidentelle,
-D: Versetzungszeichen, Akzidenz,
-NL: toevallig (verplaatsings)teken,
-DK: løst fortegn,
-S: tillfälligt förtecken,
-FI: tilapäinen etumerkki.
-
-An accidental alters a note by:
-
-@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
- }
- }
- \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
-
-ES: adagio,
-I: adagio,
-F: adagio, lent,
-D: Adagio, Langsam,
-NL: adagio,
-DK: adagio,
-S: adagio,
-FI: adagio, hitaasti.
-
-[Italian: @q{comfortable, easy}]
-
-@itemize
-
-@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 sonatas, symphonies, etc.
-
-@end itemize
-
-@seealso
-@ref{andante}, @ref{largo}, @ref{sonata}.
-
-
-@node al niente
-@section al niente
-
-ES: ?,
-I: al niente,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: häviten olemattomiin.
-
-[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[quote,relative=2]
-\override Hairpin #'circled-tip = ##t
-c1\<
-c2\> c\<
-c1\!
-@end lilypond
-
-or with the actual phrase @notation{al niente}:
-
-@lilypond[quote,relative=2]
-\dimTextDecresc
-\override DynamicTextSpanner #'(bound-details right text) =
- \markup { \italic { al niente } }
-c1\> ~
-c1 ~
-c1\!
-@end lilypond
-
-Since one does not crescendo @emph{to} nothing, it is not correct to use
-@notation{al niente} with @notation{crescendo}. Instead, one should use
-@emph{dal niente} (@notation{@b{from} nothing}).
-
-@seealso
-@ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
-
-
-@node alla breve
-@section alla breve
-
-ES: ?,
-I: ?,
-F: alla breve,
-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
-@section allegro
-
-ES: allegro,
-I: allegro,
-F: allegro,
-D: Allegro, Schnell, Fröhlich, Lustig,
-NL: allegro,
-DK: allegro,
-S: allegro,
-FI: allegro, nopeasti.
-
-[Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
-quick tempo, especially the first and last movements of a sonata.
-
-@seealso
-@ref{sonata}.
-
-
-@node alteration
-@section alteration
-
-ES: alteración,
-I: alterazione,
-F: altération,
-D: Alteration,
-NL: verhoging of verlaging,
-DK: ?,
-S: ?,
-FI: muunnettu.
-
-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}.
-
-
-@node alto
-@section alto
-
-ES: alto,
-I: contralto,
-F: alto,
-D: Alt,
-NL: alt,
-DK: alt,
-S: alt,
-FI: altto, matala naisääni.
-
-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 countertenor.
-
-@seealso
-@ref{countertenor}.
-
-
-@node alto clef
-@section alto clef
-
-ES: clave de do en tercera,
-I: chiave di contralto,
-F: clef d'ut troisième ligne,
-D: Altschlüssel, Bratschenschlüssel,
-NL: alt sleutel,
-DK: altnøgle,
-S: altklav,
-FI: alttoavain.
-
-C clef setting middle C on the middle line of the staff.
-
-@seealso
-@ref{C clef}.
-
-
-@node ambitus
-@section ambitus
-
-ES: ámbito,
-I: ambitus,
-F: ambitus,
-D: Ambitus,
-NL: ambitus,
-DK: ambitus,
-S: ambitus,
-FI: ambitus, ääniala, soitinala.
-
-[Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
-Denotes a range of pitches for a given voice in a part of music. It may
-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
-
-ES: anacrusa,
-I: anacrusi,
-F: anacrouse, levée,
-D: Auftakt,
-NL: opmaat,
-DK: optakt,
-S: upptakt,
-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
-note(s) of a melody occurring in that incomplete measure.
-
-@lilypond[quote,relative=1]
-\key f \major
-\time 4/4
-\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
-
-ES: escala menor natural,
-I: scala minore naturale,
-F: forme du mode mineur ancien, troisème mode, mode hellénique,
-D: reines Moll, natürliches Moll,
-NL: authentieke mineurtoonladder,
-DK: ren mol,
-S: ren mollskala,
-FI: luonnollinen molliasteikko.
-
-Also called @q{natural minor scale}.
-
-@lilypond[quote,notime,relative=2]
-a1 b c d e f g a
-@end lilypond
-
-
-@seealso
-@ref{diatonic scale}.
-
-
-@node andante
-@section andante
-
-ES: andante,
-I: andante,
-F: andante,
-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
-
-ES: apoyatura,
-I: appoggiatura,
-F: appoggiature, (port de voix),
-D: Vorschlag, Vorhalt
-NL: voorslag,
-DK: forslag,
-S: förslag,
-FI: appoggiatura, etuhele.
-
-Ornamental note, usually a second, that is melodically connected with
-the main note following it. In music before the 19th century
-appoggiature were usually performed on the beat, after that mostly
-before the beat. While the short appoggiatura is performed as a short
-note regardless of the duration of the main note the duration of the
-long appoggiatura is proportional to that of the main note.
-
-@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[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
-
-ES: arpegio,
-I: arpeggio,
-F: arpège,
-D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
-NL: gebroken akoord,
-DK: arpeggio, akkordbrydning,
-S: arpeggio,
-FI: arpeggio, murtosointu.
-
-[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
-
-ES: articulación,
-I: articulazione,
-F: articulation,
-D: Artikulation,
-NL: articulatie,
-DK: ?,
-S: ?,
-FI: artikulaatio, ilmaisu.
-
-Articulation refers to notation which indicates how a note or notes
-should be played. Slurs, accents, staccato, and legato are all
-examples of articulation.
-
-@seealso
-No cross-references.
-
-
-@node ascending interval
-@section ascending interval
-
-ES: intervalo ascendente,
-I: intervallo ascendente,
-F: intervalle ascendant,
-D: steigendes Intervall,
-NL: stijgend interval,
-DK: stigende interval,
-S: stigande intervall,
-FI: nouseva intervalli.
-
-A distance between a starting lower note and a higher ending note.
-
-@seealso
-No cross-references.
-
-
-@node augmented interval
-@section augmented interval
-
-ES: intervalo aumentado,
-I: intervallo aumentato,
-F: intervalle augmenté,
-D: übermäßiges Intervall,
-NL: overmatig interval,
-DK: forstørret interval,
-S: överstigande intervall,
-FI: ylinouseva intervalli.
-
-@seealso
-@ref{interval}.
-
-
-@node augmentation
-@section augmentation
-
-ES: ?,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: aika-arvojen pidentäminen.
-
-@c TODO: add definition.
-
-This is a placeholder for augmentation (wrt mensural notation).
-
-@seealso
-@ref{diminution}, @ref{mensural notation}.
-
-
-@node autograph
-@section autograph
-
-ES: manuscrito,
-I: autografo,
-F: manuscrit, autographe
-D: Autograph, Handschrift,
-NL: manuscript,
-DK: håndskrift, autograf,
-S: handskrift,
-FI: käsinkirjoitettu nuotti.
-
-@itemize
-
-@item A manuscript written in the composer's own hand.
-
-@item Music prepared for photoreproduction by freehand drawing, with
-the aid of a straightedge ruler and T-square only, which attempts to
-emulate engraving. This required more skill than did engraving.
-
-@end itemize
-
-@seealso
-No cross-references.
-
-
-@node B
-@section B
-
-@itemize
-@item ES: si
-@item I: si
-@item F: si
-@item D: H, h
-@item NL: b
-@item DK: h
-@item S: h
-@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}.
-
-
-@node bar line
-@section bar line
-
-ES: barra, línea divisoria,
-I: stanghetta, barra (di divisione),
-F: barre (de mesure),
-D: Taktstrich,
-NL: maatstreep,
-DK: taktstreg,
-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
-
-ES: barítono,
-I: baritono,
-F: bariton,
-D: Bariton,
-NL: bariton,
-DK: baryton,
-S: baryton,
-FI: baritoni, keskikorkuinen miesääni.
-
-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,
-D: Baritonschlüssel,
-NL: baritonsleutel,
-DK: barytonnøgle,
-S: barytonklav,
-FI: baritoniavain.
-
-C or F clef setting middle C on the upper staff line.
-
-@seealso
-@ref{C clef}, @ref{F clef}.
-
-
-@node bass
-@section bass
-
-ES: bajo,
-I: basso,
-F: basse,
-D: Bass,
-NL: bas,
-DK: bas,
-S: bas,
-FI: basso, matala miesääni.
-
-@itemize
-
-@item The lowest male voice.
-
-@item Sometimes, especially in jazz music, used as an abbreviation for
-double bass.
-
-@end itemize
-
-@seealso
-@ref{strings}.
-
-
-@node bass clef
-@section bass clef
-
-ES: clave de fa en cuarta,
-I: chiave di basso,
-F: clef de fa quatrième ligne,
-D: Bassschlüssel,
-NL: bassleutel,
-DK: basnøgle,
-S: basklav,
-FI: bassoavain.
-
-A clef setting with middle C on the first top ledger line.
-
-@seealso
-@ref{F clef}.
-
-
-@node beam
-@section beam
-
-ES: barra
-I: coda,
-F: barre,
-D: Balken,
-NL: waardestreep,
-DK: bjælke,
-S: balk,
-FI: palkki.
-
-Line connecting a series of notes (shorter than a quarter note). The
-number of beams determines the note value of the connected notes.
-
-@lilypond[quote,notime,relative=2,line-width=13\cm]
-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}.
-
-
-@node beat
-@section beat
-
-ES: tiempo, parte (de compás)
-I: tempi,
-F: temps,
-D: Takt, Taktschlag, Zeit (im Takt),
-NL: tel,
-DK: (takt)slag,
-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 in each measure is indicated
-at the start of the music by the @notation{time signature}.
-
-@lilypond[quote,relative=2]
-\key g \major
-\time 4/4
-g4 c b a | g1 \bar "||"
-\time 3/8
-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}.
-
-
-@node brace
-@section brace
-
-ES: llave, corchete,
-I: graffa,
-F: accolade,
-D: Klammer, Akkolade,
-NL: accolade, teksthaak,
-DK: klamme,
-S: klammer,
-FI: yhdistävä sulkumerkki.
-
-Symbol at the start of a system connecting staves.
-
-Curly braces are used for connecting piano staves, and sometimes for connecting
-the staves of like instruments in an orchestral score when written on different
-staves (e.g. first and second flutes):
-
-@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[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: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: sulkumerkki.
-
-@seealso
-@ref{brace}
-
-
-@node brass
-@section brass
-
-ES: metales,
-I: ottoni,
-D: Blechbläser,
-NL: koper (blazers),
-F: cuivres,
-DK: messingblæsere,
-S: brassinstrument, mässingsinstrument,
-FI: vaskisoitin.
-
-A family of blown musical instruments made of brass, all using a cup
-formed mouth piece. The brass instruments commonly used in a symphony
-orchestra are trumpet, trombone, french horn, and tuba.
-
-@seealso
-No cross-references.
-
-
-@node breath mark
-@section breath mark
-
-ES: respiración,
-I: respiro,
-F: respiration,
-D: Atemzeichen, Trennungszeichen,
-NL: repercussieteken,
-DK: vejrtrækningstegn,
-S: andningstecken,
-FI: hengitysmerkki.
-
-Indication of where to breathe in vocal and wind instrument parts.
-
-@seealso
-@ref{caesura}.
-
-
-@node breve
-@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
-@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{semibreve}.
-
-
-@node C
-@section C
-
-@itemize
-@item ES: do
-@item I: do
-@item F: ut
-@item D: C, c
-@item NL: c
-@item DK: c
-@item S: c
-@item FI: C, c
-@end itemize
-
-@seealso
-@ref{Pitch names}.
-
-
-@node C clef
-@section C clef
-
-ES: clave de do,
-I: chiave di do,
-F: clef d'ut,
-D: C-Schlüssel,
-NL: C-sleutel,
-DK: c-nøgle,
-S: c-klav,
-FI: C-avain.
-
-Clef symbol indicating the position of the middle C. Used on all note
-lines.
-
-@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
-
-ES: cadencia,
-I: cadenza,
-F: cadence,
-D: Kadenz,
-NL: cadens,
-DK: kadence,
-S: kadens,
-FI: kadenssi, lopuke.
-
-@seealso
-@ref{harmonic cadence}, @ref{functional harmony}.
-
-
-@node cadenza
-@section cadenza
-
-ES: cadenza,
-I: cadenza,
-F: cadence,
-D: Kadenz,
-NL: cadens,
-DK: kadence,
-S: kadens,
-FI: kadenssi, lopuke.
-
-An extended, improvisatory style section inserted near the end of
-movement. The purpose of a cadenza is to give singers or players a
-chance to exhibit their technical skill and -- not last -- their
-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: césura,
-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
-
-ES: canon,
-I: canone,
-F: canon,
-D: Kanon,
-NL: canon,
-DK: kanon,
-S: kanon,
-FI: kaanon, tarkka jäljittely.
-
-@seealso
-@ref{counterpoint}.
-
-
-@node cent
-@section cent
-
-ES: cent,
-I: cent,
-F: cent,
-D: Cent,
-NL: cent,
-DK: cent,
-S: cent,
-FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
-viritysjärjestelmässä.
-
-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}.
-
-
-@node chord
-@section chord
-
-ES: acorde,
-I: accordo,
-F: accord,
-D: Akkord,
-NL: akkoord,
-DK: akkord,
-S: ackord,
-FI: sointu.
-
-Three or more tones sounding simultaneously. In traditional European music
-the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
-(major + minor third) as well as @emph{minor} (minor + major third) chords
-may be extended with more thirds. Four-tone @emph{seventh chords} and
-five-tone @emph{ninth} major chords are most often used as dominants
-(functional harmony). Chords having no third above the lower notes to
-define their mood are a special case called @q{open chords}. The lack of
-the middle third means their quality is ambivalent -- neither major nor
-minor.
-
-@lilypond[quote,notime,line-width=13.0\cm]
-<<
- \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}.
-
-
-@node chromatic scale
-@section chromatic scale
-
-ES: escala cromática,
-I: scala cromatica,
-F: gamme chromatique,
-D: chro@-ma@-ti@-sche Tonleiter,
-NL: chromatische toonladder,
-DK: kromatisk skala,
-S: kromatisk skala,
-FI: kromaattinen asteikko.
-
-A scale consisting of all 12 semitones.
-
-@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
-
-ES: cromatismo,
-I: cromatismo,
-F: chromatisme,
-D: Chromatik,
-NL: chromatiek,
-DK: kromatik,
-S: kromatik,
-FI: kromatiikka.
-
-Using tones extraneous to a diatonic scale (minor, major).
-
-@seealso
-@ref{diatonic scale}.
-
-
-@node church mode
-@section church mode
-
-ES: modo eclesiástico,
-I: modo ecclesiastico,
-F: mode ecclésiastique,
-D: Kirchentonart,
-NL: kerktoonladder,
-DK: kirketoneart,
-S: kyrkotonart,
-FI: moodi, kirkkosävellaji.
-
-@seealso
-@ref{diatonic scale}.
-
-
-@node clef
-@section clef
-
-ES: clave,
-I: chiave,
-F: clé, clef,
-D: Schlüssel, Notenschlüssel,
-NL: sleutel,
-DK: nøgle,
-S: klav,
-FI: avain, nuottiavain.
-
-The clef indicates which lines of the staff correspond to which
-pitches. The three clef symbols in common use are:
-
-@lilypond[quote]
-\markup {
- \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
-
-Imagine a large staff of 11 lines centered on middle C, sometimes
-called a @q{grand staff}, with the bottom line representing low G and
-the top line high F:
-
-@lilypond[quote]
-\score {
- <<
- %-- 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 lilypond
-
-Staves of five lines are usually used, and the clef superimposed on
-them indicates which five lines have been selected from this
-@samp{grand staff}. For example, the treble or G clef indicates that
-the top five lines have been selected:
-
-@lilypond[quote]
-\score {
- <<
- %-- 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 lilypond
-
-The @q{curl} of the G clef is centered on the line that represents the
-pitch G.
-
-In the same way, the bass or F clef indicates that the bottom five
-lines have been selected from the @samp{grand staff}, and the alto or
-C clef indicates the middle five lines have been selected. This
-relationship is shown below, where the notes show an arpeggio on a C
-major chord.
-
-@lilypond[quote]
-\score {
- <<
- %-- 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"
- }
- }
-}
-@end lilypond
-
-@seealso
-@ref{C clef}, @ref{F clef}, @ref{G clef}.
-
-
-@node cluster
-@section cluster
-
-ES: racimo,
-I: ?,
-F: ?,
-D: Cluster,
-NL: ?,
-DK: ?,
-S: ?,
-FI: klusteri, cluster.
-
-A @emph{cluster} is a range of simultaneously sounding pitches that
-may change over time. The set of available pitches to apply usually
-depends on the acoustic source. Thus, in piano music, a cluster
-typically consists of a continuous range of the semitones as provided
-by the piano's fixed set of a chromatic scale. In choral music, each
-singer of the choir typically may sing an arbitrary pitch within the
-cluster's range that is not bound to any diatonic, chromatic or other
-scale. In electronic music, a cluster (theoretically) may even cover
-a continuous range of pitches, thus resulting in colored noise, such
-as pink noise.
-
-Clusters can be denoted in the context of ordinary staff notation by
-engraving simple geometrical shapes that replace ordinary notation of
-notes. Ordinary notes as musical events specify starting time and
-duration of pitches; however, the duration of a note is expressed by
-the shape of the note head rather than by the horizontal graphical
-extent of the note symbol. In contrast, the shape of a cluster
-geometrically describes the development of a range of pitches
-(vertical extent) over time (horizontal extent). Still, the
-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[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
-
-ES: coma, comma,
-I: comma,
-F: comma,
-D: Komma,
-NL: komma,
-DK: komma,
-S: komma,
-FI: komma, korvinkuultava ero äänenkorkeudessa.
-
-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}.
-
-
-@node common meter
-@section common meter
-
-Another name for @ref{common time}.
-
-@seealso
-@ref{common time}, @ref{meter}.
-
-
-@node common time
-@section common time
-
-ES: compasillo,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: C-merkintä.
-
-4/4 time. The symbol, which resembles a capital letter C, comes from
-mensural notation.
-
-@seealso
-@ref{mensural notation}, @ref{meter}.
-
-
-@node complement
-@section complement
-
-ES: intervalo invertido,
-I: rivolto,
-F: intervalle complémentaire,
-D: Komplementärintervall,
-NL: complementair interval,
-DK: komplementærinterval,
-S: komplementärintervall (?),
-FI: täydentävä intervalli.
-
-@seealso
-@ref{inverted interval}.
-
-
-@node compound interval
-@section compound interval
-
-ES: intervalo compuesto,
-I: intervallo composto,
-F: intervalle composé,
-D: weites Intervall,
-NL: samengesteld interval,
-DK: sammensat interval,
-S: sammansatt intervall,
-FI: oktaavia laajempi intervalli.
-
-Intervals larger than an octave.
-
-@seealso
-@ref{interval}.
-
-
-@node compound meter
-@section compound meter
-
-ES: compás compuesto, compás de subdivisión ternaria,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-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}.
-
-
-@node compound time
-@section compound time
-
-ES: compás compuesto, compás de amalgama (def. 2),
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: yhdistetty tahtilajiosoitus.
-
-@enumerate
-
-@item
-A meter that includes a triplet subdivision within the beat: see
-@ref{compound meter}.
-
-@item
-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.
-
-@end enumerate
-
-@lilypond[quote,line-width=13.0\cm]
-#(define ((compound-time one two three num) grob)
- (grob-interpret-markup grob
- (markup
- #:override '(baseline-skip . 0)
- #:number
- #:line (
- #:left-column (one num)
- #:vcenter "+"
- #:left-column (two num)
- #:vcenter "+"
- #:left-column (three num)))))
-
-\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
-@section concert pitch
-
-ES: en Do, afinación de concierto,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-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:
-
-@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
-@itemize
-@item flute
-@item oboe
-@item bassoon
-@end itemize
-
-@tab
-
-@itemize
-@item alto trombone
-@item tenor trombone
-@item bass trombone
-@end itemize
-
-@tab
-
-@itemize
-@item violin
-@item viola
-@item violoncello
-@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
-their parts' transposition. (In fact, the trombones' parts are written at
-concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
-from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
-instruments.
-
-Instruments that play @q{in C} but in a different octave than what is written
-are, technically speaking, @emph{transposing instruments}:
-
-@itemize
-
-@item piccolo (plays an octave higher)
-@item celesta (plays an octave higher)
-@item double bass (plays an octave lower)
-
-@end itemize
-
-@seealso
-@ref{transposing instrument}.
-
-
-@node conjunct movement
-@section conjunct movement
-
-ES: movimiento conjunto,
-I: moto congiunto,
-F: mouvement conjoint,
-D: schritt@-weise, stufenweise Bewegung,
-NL: stapsgewijze, trapsgewijze beweging,
-DK: trinvis bevægelse,
-S: stegvis rörelse,
-FI: asteittainen liike.
-
-Progressing melodically by intervals of a second, as contrasted with
-@emph{disjunct movement}.
-
-@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
-
-ES: consonancia,
-I: consonanza,
-F: consonance,
-D: Konsonanz,
-NL: consonant,
-DK: konsonans,
-S: konsonans,
-FI: konsonanssi, sopusointi.
-
-@seealso
-@ref{harmony}.
-
-
-@node contralto
-@section contralto
-
-ES: contralto,
-I: contralto,
-F: contralto,
-D: Alt,
-NL: contralto,
-DK: alt,
-S: alt,
-FI: kontra-altto.
-
-@seealso
-@ref{alto}.
-
-
-@node copying music
-@section copying music
-
-A music copyist did fast freehand scores and parts on preprinted staff
-lines for performance. Some of their conventions (e.g., the placement
-of note heads on stems) varied slightly from those of engravers. Some
-of their working methods were superior and could well be adopted by
-music typesetters.
-
-@c Copying music required more skill than engraving. Flagged for NPOV
-
-@seealso
-No cross-references.
-
-
-@node counterpoint
-@section counterpoint
-
-ES: contrapunto,
-I: contrappunto,
-F: contrepoint,
-D: Kontrapunkt,
-NL: contrapunt,
-DK: kontrapunkt,
-S: kontrapunkt,
-FI: kontrapunkti, ääni ääntä vastaan.
-
-From Latin @emph{punctus contra punctum}, note against note. The
-combination into a single musical fabric of lines or parts which have
-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 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[quote,staffsize=12,line-width=13.0\cm]
-\new PianoStaff <<
- \context Staff = SA \relative c' {
- \key bes \major
- \time 4/4
- \clef treble
- << \context Voice = rha {
- \stemUp
- r1 | r2 r8 g'8 bes d, |
- cis4 d r8 e!16 f g8 f16 e |
- f8 g16 a bes8 a16 g a8
- }
- \context Voice = rhb {
- \stemDown
- r1 | r | r | r2 s8
- }
- >>
- }
- \context Staff = SB \relative c' {
- \clef bass
- \key bes \major
- << \context Voice = lha {
- \stemUp
- r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
- r8 a16 g f8 g16 a bes8 g e! cis' |
- d4. e!8 f
- }
- \context Voice = lhb {
- \stemDown
- r1 | r | r | r2 s8
- } >>
- }
->>
-@end lilypond
-
-@seealso
-No cross-references.
-
-
-@node countertenor
-@section countertenor
-
-ES: contratenor,
-I: controtenore,
-F: contre-tenor,
-D: Countertenor, Kontratenor,
-NL: contratenor,
-DK: kontratenor,
-S: kontratenor, counter tenor,
-FI: kontratenori.
-
-@seealso
-@ref{contralto}.
-
-
-@node crescendo
-@section crescendo
-
-ES: crescendo,
-I: crescendo,
-F: crescendo,
-D: Crescendo, lauter werden,
-NL: crescendo,
-DK: crescendo,
-S: crescendo,
-FI: cresendo, voimistuen.
-
-Increasing volume. Indicated by a rightwards opening horizontal wedge
-(hairpin) or the abbreviation @notation{cresc.}.
-
-@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,
-D: Stichnoten,
-NL: stichnoten,
-DK: stiknoder,
-S: inprickningar,
-FI: vihjenuotit.
-
-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
-
-ES: custos,
-I: ?,
-F: guidon,
-D: Notenzeiger, Custos,
-NL: ?,
-DK: ?,
-S: ?,
-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, 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 the
-@emph{Editio Vaticana}, dating from the beginning of the 20th century
-
-@lilypond[quote,ragged-right]
-\score {
- \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"
- }
- }
-}
-@end lilypond
-
-@seealso
-No cross-references.
-
-
-@node cut time
-@section cut time
-
-@seealso
-@ref{alla breve}.
-
-
-@node D
-@section D
-
-@itemize
-@item ES: re
-@item I: re
-@item F: ré
-@item D: D, d
-@item NL: d
-@item DK: d
-@item S: d
-@item FI: D, d
-@end itemize
-
-@seealso
-@ref{Pitch names}
-
-
-@node da capo
-@section da capo
-
-ES: da capo,
-I: da capo,
-F: da capo, depuis le commencement,
-D: da capo, von Anfang,
-NL: da capo,
-DK: da capo,
-S: da capo,
-FI: da capo, alusta.
-
-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: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: tyhjästä ilmaantuen.
-
-[Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
-that the sound should gradually increase from nothing.
-
-@seealso
-@ref{al niente}.
-
-
-@node dal segno
-@section dal segno
-
-ES: dal segno,
-I: dal segno,
-F: dal segno, depuis le signe,
-D: dal segno, ab dem Zeichen,
-NL: dal segno,
-DK: dal segno,
-S: dal segno,
-FI: dal segno, lähtien merkistä.
-
-Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
-another place frequently near the beginning marked by a sign
-(@notation{segno}):
-
-@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
-
-ES: decrescendo,
-I: decrescendo,
-D: Decrescendo, leiser werden,
-NL: decrescendo,
-DK: decrescendo,
-S: decrescendo,
-FI: decresendo, hiljentyen.
-
-Decreasing tone volume. Indicated by a leftwards opening horizontal
-wedge (hairpin) or the abbreviation @notation{decresc.}.
-
-@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
-
-ES: intervalo descendente,
-I: intervallo discendente,
-F: intervalle descendant,
-D: fallendes Intervall, absteigendes Intervall,
-NL: dalend interval,
-DK: faldende interval,
-S: fallande intervall,
-FI: laskeva intervalli.
-
-A distance between a starting higher note and a lower ending note.
-
-@seealso
-No cross-references.
-
-
-@node diatonic scale
-@section diatonic scale
-
-ES: escala diatónica,
-I: scala diatonica,
-F: gamme diatonique,
-D: diatonische Tonleiter,
-NL: diatonische toonladder,
-DK: diatonisk skala,
-S: diatonisk skala,
-FI: diatoninen asteikko.
-
-A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
-played on the white keys of a piano keybord are diatonic. These scales
-are sometimes called, somewhat inaccurately, @q{church modes}).
-
-These @emph{modes} are used in Gregorian chant and in pre-baroque early music
-but also to some extent in newer jazz music.
-
-@lilypond[quote,notime,relative=1]
-<<
- {
- c1 d
- e^"~~ S" f g a b^"~~ S" c
- }
- \lyrics {
- Ionian
- }
->>
-@end lilypond
-
-@lilypond[quote,notime,relative=1]
-<<
- {
- d1
- e^"~~ S" f g a b^"~~ S" c d
- }
- \lyrics {
- Dorian
- }
->>
-@end lilypond
-
-@lilypond[quote,notime,relative=1]
-<<
- {
- e1^"~~ S" f g a b^"~~ S" c d e
- }
- \lyrics {
- Phrygian
- }
->>
-@end lilypond
-
-@lilypond[quote,notime,relative=1]
-<<
- {
- f1 g a
- b^"~~ S" c d e^"~~ S" f
- }
- \lyrics {
- Lydian
- }
->>
-@end lilypond
-
-@lilypond[quote,notime,relative=2]
-<<
- {
- g1 a
- b^"~~ S" c d e^"~~ S" f g
- }
- \lyrics {
- Mixolydian
- }
->>
-@end lilypond
-
-@lilypond[quote,notime,relative=2]
-<<
- {
- a1
- b^"~~ S" c d e^"~~ S" f g a
- }
- \lyrics {
- Aeolian
- }
->>
-@end lilypond
-
-@lilypond[quote,notime,relative=2]
-<<
- {
- b1^"~~ S" c d e^"~~ S" f g a b
- }
- \lyrics {
- Locrian
- }
->>
-@end lilypond
-
-From the beginning of the 17th century the scales used in European
-compositional music are primarily the major and the minor scales. In
-the harmonic minor scale type an augmented second (A) occurs between
-the 6th and 7th tone.
-
-@lilypond[quote,notime,relative=1]
-<<
- {
- c1 d
- e^"~~ S" f g a b^"~~ S" c
- }
- \lyrics {
- Major
- }
->>
-@end lilypond
-
-@lilypond[quote,notime,relative=2]
-<<
- {
- a1
- b^"~~ S" c d e^"~~ S" f g a
- }
- \lyrics {
- "Ancient (or Natural) minor"
- }
->>
-@end lilypond
-
-@lilypond[quote,notime,relative=2]
-<<
- {
- a1
- b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
- }
- \lyrics {
- "Harmonic minor"
- }
->>
-@end lilypond
-
-@lilypond[quote,notime,relative=2]
-<<
- {
- a1
- b^"~~ S" c d e fis gis^"~~ S" a
- }
- \lyrics {
- "Melodic minor ascending"
- }
->>
-@end lilypond
-
-@lilypond[quote,notime,relative=3]
-<<
- {
- 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}.
-
-
-@node diminished interval
-@section diminished interval
-
-ES: intervalo disminuido,
-I: intervallo diminuito,
-F: intervalle diminué,
-D: vermindertes Intervall,
-NL: verminderd interval,
-DK: formindsket interval,
-S: förminskat intervall,
-FI: vähennetty intervalli.
-
-@seealso
-@ref{interval}.
-
-
-@node diminuendo
-@section diminuendo
-
-ES: diminuendo,
-I: diminuendo,
-F: diminuendo,
-D: diminuendo,
-NL: diminuendo,
-DK: diminuendo,
-S: diminuendo,
-FI: diminuendo, hiljentyen.
-
-@seealso
-@ref{decrescendo}.
-
-
-@node diminution
-@section diminution
-
-ES: ?,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: aika-arvojen tihennys.
-
-This is a stub for diminution (@emph{wrt} mensural notation).
-
-@seealso
-@ref{augmentation}, @ref{mensural notation}.
-
-
-@node direct
-@section direct
-
-ES: ?,
-I: ?,
-F: ?,
-D: Weiser, Zeiger,
-NL: ?,
-DK: ?,
-S: ?,
-FI: suora.
-
-@seealso
-@ref{custos}.
-
-
-@node disjunct movement
-@section disjunct movement
-
-ES: movimiento disjunto,
-I: moto disgiunto,
-F: mouvement disjoint,
-D: sprunghafte Bewegung,
-NL: sprongsgewijze beweging,
-DK: springende bevægelse,
-S: hoppande rörelse,
-FI: melodian hyppivä liike.
-
-Progressing melodically by intervals larger than a major second, as contrasted
-with conjunct movement.
-
-@lilypond[quote,relative=1]
-\key a \major
-\time 4/4 {
- \partial 8 e8 |
- a4. gis8 b a e cis |
- fis2 d4.
- \bar "||" }
-@end lilypond
-
-@seealso
-@ref{conjunct movement}.
-
-
-@node dissonance
-@section dissonance
-
-Another name for @ref{dissonant interval}.
-
-@seealso
-@ref{dissonant interval}, @ref{harmony}.
-
-
-@node dissonant interval
-@section dissonant interval
-
-ES: intervalo disonante, disonancia,
-I: intervallo dissonante, dissonanza,
-F: dissonance,
-D: Dissonanz,
-NL: dissonant interval, dissonant,
-DK: dissonerende interval, dissonans,
-S: dissonans,
-FI: dissonanssi, dissonoiva intervalli, riitasointi.
-
-@seealso
-@ref{harmony}.
-
-
-@node divisio
-@section divisio
-
-ES: ?,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: jäsennysmerkki.
-
-[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:
-
-@itemize
-
-@item @emph{divisio minima}, a short pause
-
-@item @emph{divisio maior}, a medium pause
-
-@item @emph{divisio maxima}, a long pause
-
-@item @emph{finalis}, to indicate the end of a chant, or the end of a
-section in a long antiphonal or responsorial chant.
-
-@end itemize
-
-TODO: musical example here?
-
-@seealso
-No cross-references.
-
-
-@node doit
-@section doit
-
-ES: ?,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-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}.
-
-
-@node dominant
-@section dominant
-
-ES: dominante,
-I: dominante,
-F: dominante,
-D: Dominante,
-NL: dominant,
-DK: dominant,
-S: dominant,
-FI: dominantti, huippusointu.
-
-The fifth @emph{scale degree} in @emph{functional harmony}.
-
-@seealso
-@ref{functional harmony}, @ref{scale degree}.
-
-
-@node dominant ninth chord
-@section dominant ninth chord
-
-ES: acorde de novena de dominante,
-I: accordo di nona di dominante,
-F: accord de neuvième dominante,
-D: Domi@-nant@-nonen@-akkord,
-NL: dominant noon akkoord,
-DK: dominantnoneakkord,
-S: dominantnonackord,
-FI: dominanttinoonisointu.
-
-@seealso
-@ref{chord}, @ref{functional harmony}.
-
-
-@node dominant seventh chord
-@section dominant seventh chord
-
-ES: acorde de séptima de dominante,
-I: accordo di settima di dominante,
-F: accord de septième dominante,
-D: Dominantseptakkord,
-NL: dominant septiem akkoord,
-DK: dominantseptimakkord,
-S: dominantseptimackord,
-FI: dominanttiseptimisointu.
-
-@seealso
-@ref{chord}, @ref{functional harmony}.
-
-
-@node dorian mode
-@section dorian mode
-
-ES: modo dórico,
-I: modo dorico,
-F: mode dorien,
-D: dorisch, dorischer Kirchenton,
-NL: dorische toonladder,
-DK: dorisk skala,
-S: dorisk tonart,
-FI: doorinen moodi.
-
-@seealso
-@ref{diatonic scale}.
-
-
-@node dot (augmentation dot)
-@section dot (augmentation dot)
-
-ES: puntillo,
-I: punto (di valore),
-F: point,
-D: Punkt (Verlängerungspunkt),
-NL: punt,
-DK: punkt,
-S: punkt,
-FI: piste.
-
-@seealso
-@ref{dotted note}, @ref{note value}.
-
-
-@node dotted note
-@section dotted note
-
-ES: nota con puntillo,
-I: nota puntata,
-F: note pointée,
-D: punktierte Note,
-NL: gepuncteerde noot,
-DK: punkteret node,
-S: punkterad not,
-FI: pisteellinen nuotti.
-
-@seealso
-@ref{note value}.
-
-
-@node double appoggiatura
-@section double appoggiatura
-
-ES: apoyatura doble,
-I: appoggiatura doppia,
-F: appoggiature double,
-D: doppelter Vorschlag,
-NL: dubbele voorslag,
-DK: dobbelt forslag,
-S: dubbelslag,
-FI: kaksoisappogiatura, kaksoisetuhele.
-
-@seealso
-@ref{appoggiatura}.
-
-
-@node double bar line
-@section double bar line
-
-ES: doble barra,
-I: doppia barra,
-F: double barre,
-D: Doppelstrich,
-NL: dubbele maatstreep,
-DK: dobbeltstreg,
-S: dubbelstreck,
-FI: kaksoistahtiviiva.
-
-Indicates the end of a section within a movement.
-
-@seealso
-No cross-references.
-
-
-@node double dotted note
-@section double dotted note
-
-ES: nota con doble puntillo,
-I: nota doppiamente puntata,
-F: note doublement pointée,
-D: doppelt punktierte Note,
-NL: dubbelgepuncteerde noot,
-DK: dob@-belt@-punk@-te@-ret node,
-S: dub@-bel@-punk@-te@-rad not,
-FI: kaksoispisteellinen nuotti.
-
-@seealso
-@ref{note value}.
-
-
-@node double flat
-@section double flat
-
-ES: doble bemol,
-I: doppio bemolle,
-F: double bémol,
-D: Doppel-B,
-NL: dubbelmol,
-DK: dob@-belt-b,
-S: dubbelbe,
-FI: kaksoisalennusmerkki.
-
-@seealso
-@ref{accidental}.
-
-
-@node double sharp
-@section double sharp
-
-ES: doble sostenido,
-I: doppio diesis,
-F: double dièse,
-D: Doppelkreuz,
-NL: dubbelkruis,
-DK: dob@-belt@-kryds,
-S: dubbelkors,
-FI: kaksoisylennysmerkki.
-
-@seealso
-@ref{accidental}.
-
-
-@node double time signature
-@section double time signature
-
-ES: ?,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: kaksois-aika-arvomerkintä.
-
-@seealso
-@ref{polymetric time signature}.
-
-
-@node double trill
-@section double trill
-
-ES: trino doble,
-I: doppio trillo,
-F: trille double,
-D: Doppeltriller,
-NL: dubbele triller,
-DK: dobbelttrille,
-S: dubbeldrill,
-FI: kaksoistrilli.
-
-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,
-D: in zwei, grader Takt,
-NL: tweedelige maatsoort,
-DK: todelt takt,
-S: tvåtakt,
-FI: kaksoistempo.
-
-@seealso
-@ref{meter}.
-
-
-@node duplet
-@section duplet
-
-ES: dosillo,
-I: duina,
-F: duolet,
-D: Duole,
-NL: duool,
-DK: duol,
-S: duol,
-FI: duoli.
-
-@seealso
-@ref{note value}.
-
-
-@node duration
-@section duration
-
-ES: duración,
-I: durata,
-F: durée,
-D: Dauer, Länge,
-NL: duur, lengte,
-DK: varighed,
-S: tonlängd,
-FI: kesto, aika-arvo.
-
-@seealso
-@ref{note value}.
-
-
-@node dynamics
-@section dynamics
-
-ES: dinámica, matices,
-I: ?,
-F: nuances,
-D: Dynamik, Lautstärke,
-NL: ?,
-DK: ?,
-S: ?,
-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}.
-
-
-@node E
-@section E
-
-@itemize
-@item ES: mi
-@item I: mi
-@item F: mi
-@item D: E, e
-@item NL: e
-@item DK: e
-@item S: e
-@item FI: E, e
-@end itemize
-
-@seealso
-@ref{Pitch names}
-
-
-@node ecclesiastical mode
-@section ecclesiastical mode
-
-@seealso
-@ref{church mode}, @ref{diatonic scale}.
-
-
-@node eighth note
-@section eighth note
-
-@itemize
-@item UK: quaver
-@item ES: corchea
-@item I: croma
-@item F: croche
-@item D: Achtel, Achtelnote
-@item NL: achtste noot
-@item DK: ottendedelsnode
-@item S: åttondelsnot
-@item FI: kahdeksasosanuotti
-@end itemize
-
-@seealso
-@ref{note value}.
-
-
-@node eighth rest
-@section eighth rest
-
-@itemize
-@item UK: quaver rest
-@item ES: silencio de corchea
-@item I: pausa di croma
-@item F: demi-soupir
-@item D: Achtelpause
-@item NL: achtste rust
-@item DK: ottendedelspause
-@item S: åttonddelspaus
-@item FI: kahdeksasosatauko
-@end itemize
-
-@seealso
-@ref{note value}.
-
-
-@node elision
-@section elision
-
-@c TODO: add languages
-
-ES: sinalefa,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: tavujen yhdistäminen yhteen ääneen.
-
-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 looks like (and serves the same function) as a musical
-tie.
-
-@seealso
-@ref{lyric tie}.
-
-
-@node embellishment
-@section embellishment
-
-@seealso
-@ref{ornament}.
-
-
-@node engraving
-@section engraving
-
-ES: grabado,
-I: incisione,
-F: gravure,
-D: Notenstich, Notendruck
-NL: steken,
-DK: nodestik,
-S: nottryck,
-FI: painatus.
-
-Engraving means incising or etching a metal plate for printing.
-Photoengraving means drawing music with ink in a manner similar to
-drafting or engineering drawing, using similar tools.
-
-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
-
-ES: enarmónico,
-I: enarmonico,
-F: enharmonique,
-D: enharmonisch,
-NL: enharmonisch,
-DK: enharmonisk,
-S: enharmonisk,
-FI: enharmoninen.
-
-Two notes, intervals, or scales are enharmonic if they have different
-names but equal pitch.
-
-@lilypond[quote,notime,line-width=13.0\cm]
-<<
- \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
-
-ES: temperamento igual,
-I: temperamento equabile,
-F: tempérament égal,
-D: gleichschwebende Stimmung,
-NL: ge@-lijk@-zwe@-ven@-de temperatuur,
-DK: ligesvævende temperatur,
-S: liksvävande temperatur,
-FI: tasavireinen.
-
-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}.
-
-
-@node expression mark
-@section expression mark
-
-ES: expresión,
-I: segno d'espressione,
-F: signe d'expression, indication de nuance,
-D: Vortragszeichen,
-NL: voordrachtsteken,
-DK: foredragsbetegnelse,
-S: föredragsbeteckning,
-FI: nyanssiosoitus, esitysmerkki.
-
-Performance indications concerning:
-
-@itemize
-
-@item volume, dynamics (for example, @notation{forte},
-@notation{crescendo}),
-
-@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
-
-ES: línea de extensión [de melisma, de bajo cifrado, etc.],
-I: ?,
-F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
-D: Fülllinie,
-NL: ?,
-DK: ?,
-S: ?,
-FI: pidennysviiva.
-
-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:
-
-@itemize
-
-@item In vocal music to indicate the syllable for a melisma. Called
-@q{extension} in the
-@uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
-Dictionary}.
-
-@item
-In figured bass to indicate that:
-
-@itemize
-
-@item The extended note should be held through a change in harmony, when applied
-to one figure --OR--
-@item The chord thus represented should be held above a moving bass line, when
-applied to more than one figure.
-@item These uses were not completely standardized, and some composers used a
-single extender line to indicate the latter case.
-
-@end itemize
-
-@item
-In string music to indicate that all notes in the passage thus indicated should
-be played on the same string. On the violin, for example, a series of notes to
-be played on the G string would be indicated @notation{sul G}, another series to be
-played on the D string would be indicated @notation{sul D}, and so on.
-
-@item
-With an octave mark to indicate that a passage is to be played higher or lower
-by the given number of octaves.
-
-@end itemize
-
-@seealso
-@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
-@ref{octave marking}.
-
-
-@node F
-@section F
-
-@itemize
-@item ES: fa
-@item I: fa
-@item F: fa
-@item D: F, f
-@item NL: f
-@item DK: f
-@item S: f
-@item FI: F, f
-@end itemize
-
-@seealso
-@ref{Pitch names}
-
-
-@node F clef
-@section F clef
-
-ES: clave de fa,
-I: chiave di fa,
-F: clef de fa,
-D: F-Schlüssel,
-NL: F-sleutel,
-DK: F-nøgle,
-S: f-klav,
-FI: F-avain.
-
-The position between the dots of the key symbol is the line of the F
-below central@w{ }C. Used on the third, fourth and fifth note line.
-A digit@w{ }8 above the clef symbol indicates that the notes must be
-played an octave higher (for example, bass recorder) while 8@w{ }below
-the clef symbol indicates playing an octave lower (for example, on the
-Double Bass).
-
-@lilypond[quote,notime,line-width=13.0\cm]
-<<
- \relative c {
- \override Staff.Clef #'full-size-change = ##t
- \clef varbaritone
- f1
- \clef bass
- f1
- \clef subbass
- f1
- \clef "F^8"
- f1
- \clef "F_8"
- f1
- }
- \lyrics {
- "varbaritone "
- "bass "
- "sub-bass "
- "octave up "
- "octave down"
- }
->>
-@end lilypond
-
-@seealso
-@ref{baritone clef}, @ref{strings}.
-
-
-@node fall
-@section fall
-
-ES: ?,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-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}.
-
-
-@node feathered beam
-@section feathered beam
-
-ES: barra punteada,
-I: ?,
-F: liens de croches en soufflet,
-D: gespreizter Balken,
-NL: ?,
-DK: ?,
-S: ?,
-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
-direction of @q{feathering} -- but without changing the overall tempo
-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,
-D: Fermate,
-NL: fermate,
-DK: fermat,
-S: fermat,
-FI: fermaatti, pidäke.
-
-Prolonged note or rest of indefinite duration.
-
-@lilypond[quote,relative=2]
-\time 4/4
-a4 b c2^\fermata
-\bar "|."
-@end lilypond
-
-@seealso
-No cross-references.
-
-
-@node fifth
-@section fifth
-
-ES: quinta,
-I: quinta,
-F: quinte,
-D: Quinte,
-NL: kwint,
-DK: kvint,
-S: kvint,
-FI: kvintti.
-
-@seealso
-@ref{interval}.
-
-
-@node figured bass
-@section figured bass
-
-ES: bajo cifrado,
-I: basso continuo, basso numerato,
-F: basse chiffrée, basse continue,
-D: Generalbass, bezifferter Bass,
-NL: basso continuo, becijferde bas
-DK: generalbas,
-S: generalbas,
-FI: kenraalibasso, numeroitu basso.
-
-Also called @q{thorough bass}.
-
-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[quote,line-width=13.0\cm]
-\new GrandStaff <<
- \new Staff = "rh" \with {
- fontSize = #-3
- \override StaffSymbol #'staff-space = #(magstep -3)
- } \relative c'' {
- \clef treble
- \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
- }
- >>
- }
- \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>
- }
->>
-@end lilypond
-
-@seealso
-@ref{chord}, @ref{interval}.
-
-
-@node fingering
-@section fingering
-
-ES: digitación,
-I: diteggiatura,
-F: doigté,
-D: Fingersatz,
-NL: vingerzetting,
-DK: fingersætning,
-S: fingersättning,
-FI: sormitus.
-
-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
-@section flag
-
-ES: corchete,
-I: coda (uncinata), bandiera,
-F: crochet,
-D: Fahne, Fähnchen,
-NL: vlaggetje,
-DK: fane,
-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 note value.
-
-@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: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: flageolet-ääni.
-
-An articulation for string players that means the note or passage is to
-be played in harmonics.
-
-Also:
-
-@itemize
-
-@item A duct flute similar to the recorder.
-
-@item An organ stop of flute scale at 1' or 2' pitch.
-
-@end itemize
-
-@seealso
-@ref{articulation}, @ref{harmonics}.
-
-
-@node flat
-@section flat
-
-ES: bemol,
-I: bemolle,
-F: bémol,
-D: B,
-NL: mol,
-DK: b,
-S: beförtecken,
-FI: alennusmerkki.
-
-@seealso
-@ref{accidental}.
-
-
-@node forefall
-@section forefall
-
-@seealso
-@ref{appoggiatura}.
-
-
-@node forte
-@section forte
-
-ES: forte,
-I: forte,
-F: forte,
-D: forte, laut,
-NL: forte,
-DK: forte,
-S: forte,
-FI: forte, voimakkaasti.
-
-[Italian: @q{loud}]
-
-Abbreviated @notation{@b{f}}. Variants include:
-
-@itemize
-@item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
-@item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
-@end itemize
-
-@seealso
-No cross-references.
-
-
-@node fourth
-@section fourth
-
-ES: cuarta,
-I: quarta,
-F: quarte,
-D: Quarte,
-NL: kwart,
-DK: kvart,
-S: kvart,
-FI: kvartti.
-
-@seealso
-@ref{interval}.
-
-
-@node Frenched score
-@section Frenched score
-
-ES: partitura a la francesa,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-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
-to take up the space thus liberated, which reduces the total number of pages
-used to print the work.
-
-The specific rules for @q{frenching} a score differ from publisher to publisher.
-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}.
-
-
-@node Frenched staff
-@section Frenched staff
-
-ES: pentagrama a la francesa,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: karsittu nuotinnus.
-
-[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
-
-Plural of @ref{Frenched staff}.
-
-
-@node fugue
-@section fugue
-
-ES: fuga,
-I: fuga,
-F: fugue,
-D: Fuge,
-NL: fuga,
-DK: fuga,
-S: fuga,
-FI: fuuga.
-
-@seealso
-@ref{counterpoint}.
-
-
-@node functional harmony
-@section functional harmony
-
-ES: armonía funcional,
-I: armonia funzionale,
-F: étude des functions,
-D: Funktionslehre,
-NL: functionele harmonie,
-DK: funktionsanalyse, funktionsharmonik,
-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.
-
-TODO: what does the @q{p} mean in Sp, Dp, Tp?
-
-@lilypond[quote,notime,relative=2,line-width=13.0\cm]
-<<
- {
- <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
-
-@itemize
-@item ES: sol
-@item I: sol
-@item F: sol
-@item D: G, g
-@item NL: g
-@item DK: g
-@item S: g
-@item FI: G, g
-@end itemize
-
-@seealso
-@ref{Pitch names}
-
-
-@node G clef
-@section G clef
-
-ES: clave de sol,
-I: chiave di sol,
-F: clef de sol,
-D: G-Schlüssel, Violinschlüssel,
-NL: G-sleutel,
-DK: g-nøgle,
-S: g-klav,
-FI: G-avain.
-
-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[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
-}
-\addlyrics {
- "french violin clef"
- "violin clef"
- "octave up"
- "octave down"
- }
-@end lilypond
-
-@seealso
-No cross-references.
-
-
-@node glissando
-@section glissando
-
-ES: glissando,
-I: glissando,
-F: glissando,
-D: Glissando,
-NL: glissando,
-DK: glissando,
-S: glissando,
-FI: glissando, liukuen.
-
-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,
-D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
-NL: versieringen,
-DK: forsiringer,
-S: ornament,
-FI: korunuotit.
-
-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}.
-
-
-@node grand staff
-@section grand staff
-
-ES: sistema de piano,
-I: accolatura,
-F: accolade,
-D: Akkolade, Klaviersystem,
-NL: piano systeem,
-DK: klaversystem,
-S: ackolad, böjd klammer,
-FI: kaksoisnuottiviivasto.
-
-A combination of two staves with a brace. Usually used for piano music.
-
-@seealso
-@ref{brace}.
-
-
-@node grave
-@section grave
-
-ES: grave,
-I: grave,
-F: grave,
-D: Grave, Langsam,
-NL: grave, ernstig,
-DK: grave,
-S: grave,
-FI: grave, raskaasti.
-
-[Italian] Slow, solemn.
-
-@seealso
-No cross-references.
-
-
-@node gruppetto
-@section gruppetto
-
-@seealso
-@ref{turn}.
-
-
-@node H
-@section H
-
-@itemize
-@item ES: si
-@item I: si
-@item F: si
-@item D: H, h
-@item NL: b
-@item DK: h
-@item S: h
-@item FI: H, h
-@end itemize
-
-Letter name used for @notation{B natural} in German and Scandinavian
-usage. In the standard usage of these countries, @notation{B} means
-@notation{B flat}.
-
-@seealso
-@ref{Pitch names}, @ref{B}.
-
-
-@node hairpin
-@section hairpin
-
-Graphical version of the @notation{crescendo} and @notation{decrescendo}
-dynamic marks.
-
-@lilypond[quote,relative=2]
-c1\<
-c2\> c\<
-c1\!
-@end lilypond
-
-@seealso
-@ref{crescendo}, @ref{decrescendo}.
-
-
-@node half note
-@section half note
-
-@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
-
-@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}.
-
-
-@node harmonic cadence
-@section harmonic cadence
-
-ES: cadencia (armónica),
-I: cadenza (armonica),
-F: cadence harmonique,
-D: Schlusskadenz,
-NL: harmonische cadens,
-DK: harmonisk kadence,
-S: (harmonisk) kadens,
-FI: harmoninen kadenssi.
-
-A sequence of chords that terminates a musical phrase or section.
-
-@lilypond[quote]
-\new PianoStaff <<
- \context Staff = "SA" \relative c'' {
- \clef treble
- \time 4/4
- \partial 4 <c g e>4 |
- <c a f> <b g d> <c g e>2
- }
- <<
- \context Staff = "SB" \relative c {
- \clef bass
- \partial 4 c4 | f, g c2
- \bar "|."
- }
- \lyrics {
- T4 S D T
- }
- >>
->>
-@end lilypond
-
-
-@seealso
-@ref{functional harmony}.
-
-
-@node harmonics
-@section harmonics
-
-ES: sonidos del flautín,
-I: suoni flautati,
-F: flageolet, sons harmoniques,
-D: Flageolett-Töne,
-NL: ?,
-DK: ?,
-S: ?,
-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.
-
-On stringed instruments, these pitches sound rather flute-like; hence,
-their name in languages other than English. They are produced by
-lightly touching the string at a node for the desired mode of vibration
-while it is being bowed or plucked.
-
-For instruments of the violin family, there are two types of harmonics:
-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
-
-ES: armonía,
-I: armonia,
-F: harmonie,
-D: Harmonie, Zusammenklang,
-NL: harmonie,
-DK: samklang,
-S: samklang,
-FI: harmonia, yhteissointi.
-
-Tones sounding simultaneously. Two note harmonies fall into the
-categories @emph{consonances} and @emph{dissonances}.
-
-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
-@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
-@end lilypond
-
-For harmony that uses three or more notes, see @ref{chord}.
-
-@seealso
-@ref{chord}.
-
-
-@node hemiola
-@section hemiola
-
-ES: hemiolia,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: 3/2 -suhde.
-
-[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[quote,relative=1,line-width=13.0\cm]
-\key c \major
-\time 6/4
-c2. e | d2 c d | c1. \bar "||"
-@end lilypond
-
-may be thought of having alternating time signatures
-
-@lilypond[quote,relative=1,line-width=13.0\cm]
-\key c \major
-\time 6/4
-c2. e
-\time 3/2
-d2 c d
-\time 6/4
-c1. \bar "||"
-@end lilypond
-
-and is therefore a polymeter (second definition) of considerable antiquity.
-
-@seealso
-@ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
-
-
-@node homophony
-@section homophony
-
-ES: homofonía,
-I: omofonia,
-F: homophonie,
-D: Homophonie,
-NL: homofonie,
-DK: homofoni,
-S: homofoni,
-FI: homofonia, yksiäänisyys.
-
-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
-
-ES: ?,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-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: 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
-easier reading, a hymn with a meter of 87.87.87.87 is usually written
-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
-@section interval
-
-ES: intervalo,
-I: intervallo,
-F: intervalle,
-D: Intervall,
-NL: interval,
-DK: interval,
-S: intervall,
-FI: intervalli, kahden sävelen korkeusero.
-
-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 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}.
-
-
-@node inversion
-@section inversion
-
-ES: ?,
-I: ?,
-F: inversion,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: käännös.
-
-When a chord sounds with a bass note that differs from the root of the
-chord, it is said to be @emph{inverted}. The number of inversions that a
-chord can have is one fewer than the number of constituent notes. For
-example, triads (which have three constituent notes) can have three
-positions, two of which are inversions:
-
-@table @dfn
-@item Root position
-The root note is in the bass, and above that are the third and the fifth. A
-triad built on the first scale degree, for example, is marked @notation{I}.
-
-@item First inversion
-The third is in the bass, and above it are the fifth and the root. This
-creates an interval of a sixth and a third above the bass note, and so is
-marked in figured Roman notation as @notation{6/3}. This is commonly
-abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
-characteristic interval of the inversion, and so always implies
-@notation{6/3}.
-
-@item Second inversion
-The fifth is in the bass, and above it are the root and the third. This
-creates an interval of a sixth and a fourth above the bass note, and so is
-marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
-unstable chord position.
-@end table
-
-@seealso
-No cross-references.
-
-
-@node inverted interval
-@section inverted interval
-
-ES: intervalo invertido,
-I: intervallo rivolto,
-F: intervalle reversé,
-D: umgekehrtes Intervall,
-NL: interval inversie,
-DK: omvendingsinterval,
-S: intervallets omvändning,
-FI: käänteisintervalli.
-
-The difference between an interval and an octave.
-
-@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
-
-ES: entonación justa,
-I: intonazione giusta,
-F: intonation juste,
-D: reine Stimmung,
-NL: reine stemming,
-DK: ren stemning,
-S: ren stämning,
-FI: puhdas viritys.
-
-Tuning system in which the notes are obtained by adding and subtracting
-natural fifths and thirds.
-
-@seealso
-@ref{temperament}.
-
-
-@node key
-@section key
-
-ES: tonalidad,
-I: tonalità,
-F: tonalité,
-D: Tonart,
-NL: toonsoort,
-DK: toneart,
-S: tonart,
-FI: tonaliteetti.
-
-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}.
-
-
-@node key signature
-@section key signature
-
-ES: armadura (de la clave),
-I: armatura di chiave,
-F: armure, armature [de la clé],
-D: Vorzeichen, Tonart,
-NL: toon@-soort (voortekens),
-DK: faste fortegn,
-S: tonartssignatur,
-FI: sävellajiosoitus.
-
-The sharps or flats appearing at the beginning of each staff indicating the
-key of the music.
-
-@seealso
-@ref{accidental}.
-
-
-@node laissez vibrer
-@section laissez vibrer
-
-ES: dejar vibrar,
-I: ?,
-F: laissez vibrer,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: antaa väristä.
-
-[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,
-D: Largo, Langsam, Breit,
-NL: largo,
-DK: largo,
-S: largo,
-FI: largo, hitaasti, leveästi.
-
-[Italian: @q{wide}.] Very slow in tempo, usually combined with great
-expressiveness. @emph{Larghetto} is less slow than largo.
-
-
-@node leading note
-@section leading note
-
-ES: sensible,
-I: sensibile,
-F: note sensible,
-D: Leitton,
-NL: leidtoon,
-DK: ledetone,
-S: ledton,
-FI: johtosävel.
-
-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
-
-ES: línea adicional,
-I: tagli addizionali,
-F: ligne supplémentaire,
-D: Hilfslinie,
-NL: hulplijntje,
-DK: hjælpelinie,
-S: hjälplinje,
-FI: apuviiva.
-
-A ledger line is an extension of the staff.
-
-@lilypond[quote,notime,relative=2]
-a,1
-s1
-c''1
-@end lilypond
-
-@seealso
-No cross-references.
-
-
-@node legato
-@section legato
-
-ES: legato,
-I: legato,
-F: legato, lié,
-D: legato, gebunden,
-NL: legato,
-DK: legato,
-S: legato,
-FI: legato, sitoen.
-
-To be performed (a) without any perceptible interruption between the
-notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
-@notation{portato}, or (d) @notation{staccato}.
-
-@lilypond[quote,notime,line-width=13.0\cm]
-<<
- \context Staff \relative c'' {
- c4-( d e-) \bar "||"
- c4-- d-- e-- \bar "||"
- c4-.-( d-. e-.-) \bar "||"
- c4-. d-. e-. \bar "||"
- }
- \lyrics {
- a2.
- b
- c
- d
- }
->>
-@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}.
-
-
-@node ligature
-@section ligature
-
-ES: ligadura,
-I: ?,
-F: ligature,
-DE: Ligatur,
-NL: ?,
-DK: ?,
-S: ?,
-FI: ligatuura.
-
-A ligature is a coherent graphical symbol that represents at least two
-distinct notes. Ligatures originally appeared in the manuscripts of
-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}.
-
-
-@node lilypond
-@section lilypond
-
-UK: lily pond,
-ES: estanque de nenúfares,
-I: stagno del giglio,
-F: étang de nénuphars, étang de nymphéas,
-D: Seerosenteich,
-NL: le@-lie@-vij@-ver,
-DK: liliedam,
-S: liljedamm,
-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
-
-ES: línea,
-I: linea,
-F: ligne,
-D: Linie, Notenlinie,
-NL: lijn,
-DK: nodelinie,
-S: notlinje,
-FI: viiva, nuottiviiva.
-
-@seealso
-@ref{staff}.
-
-
-@node loco
-@section loco
-
-ES: en su lugar,
-I: loco,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: kirjoitetussa äänenkorkeudessa.
-
-[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}.
-
-
-@node long appoggiatura
-@section long appoggiatura
-
-ES: apoyatura larga,
-I: appoggiatura lunga,
-F: appoggiature longue,
-D: Vorhalt,
-NL: Lange voorslag,
-DK: langt forslag,
-S: långt förslag,
-FI: pitkä appoggiatura, pitkä etuhele.
-
-@seealso
-@ref{appoggiatura}.
-
-
-@node longa
-@section longa
-
-@itemize
-@item US: long, longa,
-@item ES: longa,
-@item I: longa,
-@item F: longa,
-@item D: Longa,
-@item NL: longa,
-@item DK: longa,
-@item S: longa,
-@item FI: longa.
-@end itemize
-
-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}.
-
-
-@node lyric tie
-@section lyric tie
-
-ES: ligadura de letra,
-I: ?,
-F: ?,
-D: Textbindung,
-NL: ?,
-DK: ?,
-S: ?,
-FI: sidonta sanoituksessa.
-
-@c TODO: add languages
-
-@seealso
-@ref{elision}.
-
-
-@node lyrics
-@section lyrics
-
-ES: letra (de la canción),
-I: ?,
-F: paroles,
-D: Liedtext, Gesangtext,
-NL: liedtekst,
-DK: ?,
-S: ?,
-FI: sanoitus.
-
-@c Definition?
-
-@seealso
-No cross-references.
-
-
-@node major
-@section major
-
-ES: mayor,
-I: maggiore,
-F: [mode] majeur,
-D: Dur,
-NL: majeur,
-DK: dur,
-S: dur,
-FI: duuri.
-
-@seealso
-@ref{diatonic scale}.
-
-
-@node major interval
-@section major interval
-
-ES: intervalo mayor,
-I: intervallo maggiore,
-F: intervalle majeur,
-D: großes Intervall,
-NL: groot interval,
-DK: stort interval,
-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 value}.
-
-
-@node meantone temperament
-@section meantone temperament
-
-ES: afinación mesotónica,
-I: accordatura mesotonica,
-F: tempérament mésotonique,
-D: mitteltönige Stimmung,
-NL: middenstemming, middentoonstemming,
-DK: middeltonetemperatur,
-S: medeltonstemperatur,
-FI: keskisävelviritys.
-
-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
-@section measure
-
-ES: compás,
-I: misura, battuta,
-F: mesure,
-D: Takt,
-NL: maat,
-DK: takt,
-S: takt,
-FI: tahti.
-
-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.
-
-@seealso
-@ref{bar line}, @ref{beat}, @ref{meter}.
-
-
-@node measure repeat
-@section measure repeat
-
-@seealso
-@ref{percent repeat}.
-
-
-@node mediant
-@section mediant
-
-ES: mediante,
-I: mediante, modale,
-F: médiante,
-NL: mediant,
-D: Mediante,
-DK: mediant,
-S: mediant,
-FI: keskisävel.
-
-@itemize
-
-@item The third @b{scale degree}.
-
-@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{chord}, @ref{functional harmony}, @ref{relative key}.
-
-
-@node melisma
-@section melisma
-
-ES: melisma,
-I: ?,
-F: mélisme,
-D: Melisma,
-NL: melisma,
-DK: ?,
-S: ?,
-FI: melisma, laulettavan tavun sävelkuvio.
-
-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
-@section melisma line
-
-@c TODO: add languages
-
-ES: línea de melisma,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: melismaviiva.
-
-@seealso
-@ref{extender line}.
-
-
-@node melodic cadence
-@section melodic cadence
-
-@seealso
-@ref{cadenza}.
-
-
-@node mensural notation
-@section mensural notation
-
-@c TODO: add languages
-
-ES: notación mensural,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-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
-1600. As such, it is the basis for the notation of rhythms in Western musical
-notation.
-
-Franco of Cologne (ca. 1250) is credited with the first systematic explanation
-of the notation's principles, so the notation of this earliest period is called
-@q{Franconian}. Franco's system made use of three note values -- long, breve,
-and semibreve -- each of which was normally equivalent to three of the next
-lower note value.
-
-Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
-added several note values (the minim, semiminim and fusa) and extended Franco's
-principles to govern the relationship between these values. They also put the
-duple division of note values on an equal footing with the earlier (preferred)
-triple division.
-
-TODO: continue description of French and Italian black notation, and the
-relationship betwixt them.
-
-@b{White or void mensural notation}
-
-In the 15th century, hollow (or void) notes began to substitute for the earlier
-solid black ones, which were then free to assume the function of red (or
-colored) notes in the earlier notation. ...
-
-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
-
-ES: tiempo, compás,
-I: tempo, misura,
-F: indication de mesure, mesure,
-D: Taktart, Metrum,
-NL: maatsoort,
-DK: taktart,
-S: taktart,
-FI: aika-arvo.
-
-The pattern of note values and accents in a composition or a section thereof.
-There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
-by grouping beats and by subdividing the primary beat.
-
-@b{By grouping beats}:
-
-@itemize
-
- @item @b{duple}: groups of two.
- @item @b{triple}: groups of three.
- @item @b{quadruple}: groups of four. A special case of duple meter.
- @item @b{quintuple}: groups of five beats.
- @item @b{sextuple} meter: groups of six. A special case of:
-
- @itemize
-
- @item duple meter, subdivided in three; or
- @item triple meter, subdivided in two.
-
- @end itemize
-
- @item @b{septuple} meter: groups of seven.
- @item and so on.
-
-@end itemize
-
-Other than triple meter and its subdivided variants (see below), meters that
-feature odd groupings of beats (e.g. quintuple or septuple meter) are not
-frequently used prior to the 20th Century.
-
-@b{By subdividing the primary beat}:
-
-@itemize
-
- @item simple: subdivided in groups of two.
-
- @itemize
-
- @item duple: 2/2, 2/4, 2/8
- @item triple: 3/2, 3/4, 3/8
- @item quadruple: 4/2, 4/4 (also called common time), 4/8
-
- @end itemize
-
- @item compound: subdivided in groups of three.
-
- @itemize
-
- @item duple: 6/8
- @item triple: 9/8
- @item quadruple: 12/8
-
- @end itemize
-
-@end itemize
-
-Time signatures are placed at the beginning of a composition (or section) to
-indicate the meter. For instance, a piece written in simple triple meter with a
-beat on each quarter note is conventionally written with a time signature of
-3/4. Here are some combinations of the two classifications above:
-
-Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
-
-@lilypond[quote,line-width=13.0\cm]
-\relative c'' {
- \time 2/4
- \key g \major
- g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
-@end lilypond
-
-Simple triple meter:
-
-@lilypond[quote,line-width=13.0\cm]
-\relative c'' {
- \time 3/4
- \key c \minor
- c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
-@end lilypond
-
-Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
-
-@lilypond[quote,line-width=13.0\cm]
-\relative c'' {
- \time 4/4
- \key g \major
- g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
-@end lilypond
-
-Simple quintuple meter (B. Marcello, 1686-1739):
-
-@lilypond[quote,line-width=13.0\cm]
-\relative c'' {
- \time 5/4
- \key c \major
- r4 cis8 bis ais4 dis c8 ais |
- 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[quote,line-width=13.0\cm]
-\relative c' {
- \time 6/8
- \key f \major
- f8 f g a bes16 a g f |
- g8 g bes a c16 a bes g
- \bar "||"}
-@end lilypond
-
-Compound triple meter (J.S. Bach, 1685-1750):
-
-@lilypond[quote,line-width=13.0\cm]
-\relative c' {
- \time 9/8
- \key g \major
- r8 g'( a) b( d c) c( e d) |
- d( g fis) g( d b) g( a b)
- \bar "||"}
-@end lilypond
-
-Compound quadruple meter (P. Yon, 1886-1943):
-
-@lilypond[quote,line-width=13.0\cm]
-\relative c' {
- \time 12/8
- \key e \major
- b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
- e4 e8 fis( gis) a b4.~ b4 b8
- \bar "||"}
-@end lilypond
-
-@b{@q{Monometer} vs Polymeter}
-
-TODO: add information from discussion on lilypond-user related to polymeter.
-
-@seealso
-@ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
-
-
-@node metronome
-@section metronome
-
-ES: metrónomo,
-I: metronomo,
-F: métronome,
-D: Metronom,
-NL: metronoom,
-DK: me@-tro@-nom,
-S: me@-tro@-nom,
-FI: metronomi.
-
-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 @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}.
-
-
-@node metronome mark
-@section metronome mark
-
-ES: indicación metronómica,
-I: indicazione metronomica,
-F: indication métronomique,
-D: Metronomangabe,
-NL: metronoom aanduiding,
-DK: metronomtal,
-S: metronomangivelse,
-FI: metronomiosoitus.
-
-Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
-@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}
-
-
-@node mezzo
-@section mezzo
-
-ES: ?,
-I: mezzo,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: kohtalaisen, melko.
-
-[Italian: @q{medium}]
-
-Used to qualify other indications, such as:
-
-@itemize
-
-@item Dynamics
- @itemize
- @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
- @notation{piano})
- @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
- @notation{forte})
- @end itemize
-
-@item Voice
- @itemize
- @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
- sopranos
- @end itemize
-
-@end itemize
-
-@seealso
-No cross-references.
-
-
-@node mezzo-soprano
-@section mezzo-soprano
-
-ES: mezzosoprano,
-I: mezzo-soprano,
-F: mezzo-soprano,
-D: Mezzosopran,
-NL: mezzosopraan,
-DK: mezzosopran,
-S: mezzosopran,
-FI: mezzosopraano.
-
-The female voice between soprano and contralto.
-
-@seealso
-@ref{soprano}, @ref{contralto}.
-
-
-@node middle C
-@section middle C
-
-ES: do central,
-I: do centrale,
-F: do central,
-D: eingestrichenes@w{ }c,
-NL: centrale@w{ }c,
-DK: enstreget@w{ }c,
-S: ettstruket@w{ }c,
-FI: keski-C.
-
-First C below the 440 Hz A.
-
-@lilypond[quote,notime,relative=1]
-\override Staff.Clef #'full-size-change = ##t
- \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,
-D: Moll,
-NL: mineur,
-DK: mol,
-S: moll,
-FI: molli.
-
-@seealso
-@ref{diatonic scale}.
-
-
-@node minor interval
-@section minor interval
-
-ES: intervalo menor,
-I: intervallo minore,
-F: intervalle mineur,
-D: kleines Intervall,
-NL: klein interval,
-DK: lille interval,
-S: litet intervall,
-FI: pieni intervalli.
-
-@seealso
-@ref{interval}.
-
-
-@node mixolydian mode
-@section mixolydian mode
-
-@seealso
-@ref{diatonic scale}.
-
-
-@node mode
-@section mode
-
-ES: modo,
-I: modo,
-F: mode,
-D: Kirchentonart, Modus,
-NL: modus,
-DK: skala,
-S: modus, skala,
-FI: moodi, kirkkosävelasteikko.
-
-@seealso
-@ref{church mode}, @ref{diatonic scale}.
-
-
-@node modulation
-@section modulation
-
-ES: modulación,
-I: modulazione,
-F: modulation,
-D: Modulation,
-NL: modulatie,
-DK: modulation,
-S: modulering,
-FI: modulaatio, sävellajin vaihdos.
-
-Moving from one @ref{key} to another. For example, the second subject
-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
-
-I: mordente,
-F: mordant,
-D: Mordent,
-NL: mordent,
-DK: mordent,
-S: mordent,
-FI: mordent, korukuvio.
-
-@seealso
-@ref{ornament}.
-
-
-@node motif
-@section motif
-
-@seealso
-@ref{motive}.
-
-
-@node motive
-@section motive
-
-ES: motivo,
-I: inciso,
-F: incise,
-D: Motiv,
-NL: motief,
-DK: motiv,
-S: motiv,
-FI: teema, sävelaihe.
-
-The briefest intelligible and self-contained fragment of a musical
-theme or subject.
-
-@lilypond[quote,line-width=13.0\cm]
-\score{
-\relative c'' {
- \set Score.implicitTimeSignatureVisibility = #all-invisible
- \override Score.TimeSignature #'break-visibility = #all-invisible
- \time 4/4
- \key g \major
- \partial 8 g16\startGroup fis |
- g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
- g8 g,16 a b8 cis d16 s
-}
-\layout {
- \context {
- \Staff \consists "Horizontal_bracket_engraver"
-}}
-}
-@end lilypond
-
-@seealso
-No cross-references.
-
-
-@node movement
-@section movement
-
-ES: movimiento,
-I: movimento,
-F: mouvement,
-D: Satz,
-NL: deel,
-DK: sats,
-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.
-
-@seealso
-No cross-references.
-
-
-@node multi-measure rest
-@section multi-measure rest
-
-ES: compases de espera,
-I: pausa multipla,
-F: pause multiple,
-NL: meermaats rust,
-D: mehrtaktige Pause, Kirchenpause,
-DK: flertaktspause,
-S: flertaktspaus,
-FI: usean tahdin mittainen tauko.
-
-Multi-measure rests are conventionally typeset with a combination of
-longa, breve and whole rests for shorter and a long horizontal bar for
-longer spans of rest, with a number above to indicate the duration (in
-measures) of the rest. The former style is called @q{Kirchenpausen} in
-German, as a reminiscence of its use in Renaissance vocal polyphony.
-
-@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}.
-
-
-@node natural
-@section natural
-
-ES: becuadro,
-I: bequadro,
-F: bécarre,
-D: Auflösungszeichen,
-NL: herstellingsteken,
-DK: op@-løsningstegn,
-S: återställningstecken,
-FI: palautusmerkki.
-
-@seealso
-@ref{accidental}.
-
-
-@node neighbor tones
-@section neighbor tones
-
-@seealso
-@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
-@ref{ornament}.
-
-
-@node ninth
-@section ninth
-
-ES: novena,
-I: nona,
-F: neuvième,
-D: None,
-NL: noon,
-DK: none,
-S: nona,
-FI: nooni.
-
-@seealso
-@ref{interval}.
-
-
-@node non-legato
-@section non-legato
-
-@seealso
-@ref{legato}.
-
-
-@node note
-@section note
-
-ES: nota,
-I: nota,
-F: note,
-D: Note,
-NL: noot,
-DK: node,
-S: not,
-FI: nuotti.
-
-Notes are signs by means of which music is fixed in writing. The term is also
-used for the sound indicated by a note, and even for the key of the piano
-which produces the sound. However, a clear distinction between the terms tone
-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,
-D: Notenkopf,
-NL: nootballetje,
-DK: nodehovede,
-S: nothuvud,
-FI: nuotin pää.
-
-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}
-
-
-@node note value
-@section note value
-
-ES: valor (duración),
-I: valore, durata,
-F: durée, valeur (d'une note),
-D: Notenwert,
-NL: nootwaarde,
-DK nodeværdi,
-S: notvärde,
-FI: nuotin aika-arvo.
-
-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[quote,notime,line-width=13.0\cm]
-\relative c'' {
- \override NoteHead #'style = #'mensural
- a\longa_"longa" a\breve_"breve"
- \revert NoteHead #'style
- a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
- a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
-@end lilypond
-
-@c TODO -- add maxima rest to this example
-
-@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 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'' {
- \time 4/4
- g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
- g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
-@end lilypond
-
-Alternatively note values may be subdivided by other ratios. Most common is
-subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
-Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
-dotted notes are also frequently used.
-
-@lilypond[quote,line-width=13.0\cm]
-\relative c'' {
- \time 4/4
- \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
- \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
-}
-@end lilypond
-
-@lilypond[quote,line-width=13.0\cm]
-\relative c'' {
- \time 3/4
- \times 3/2 {g4_"duplets" g} |
- g4 g g \bar "||"
- \times 6/4 {g8_"quadruplets" g g g} |
- g8 g g g g4 \bar "||"
-}
-@end lilypond
-
-@seealso
-@ref{common time}.
-
-
-@node octavation
-@section octavation
-
-@seealso
-@ref{octave marking}.
-
-
-@node octave
-@section octave
-
-ES: octava,
-I: ottava,
-F: octave,
-D: Oktave,
-NL: octaaf,
-DK: oktav,
-S: oktav,
-FI: oktaavi.
-
-The interval of an octave, sometimes abbreviated @notation{8ve}.
-
-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}.
-
-
-@node octave mark
-@section octave mark
-
-ES: indicación de octava,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: oktaavamerkki.
-
-The phrase, abbreviation, or other mark used (with or without an extender line
-or bracket) to indicate that the music is to be played in a different octave:
-
-@itemize
-
-@item @notation{15ma}: play two octaves higher
-@item @notation{8va}: play one octave higher
-@item @notation{8vb}: play one octave lower
-@item @notation{8va} (written below the passage): unusual, same as
-@notation{8vb}
-@item @notation{15vb}: play two octaves lower
-@item @notation{15va} (written below the passage): unusual, same as
-@notation{15vb}
-
-@end itemize
-
-For longer passages, it may be more practical to mark the octave change at the
-beginning with a phrase (see the list below for examples), but without a bracket
-or extender line. Then, when the music returns to the written pitch, the octave
-change is cancelled with the word @notation{loco} (q.v.).
-
-To parallel the list above:
-
-@itemize
-
-@item @notation{15ma}: @notation{alla quindicesima (alta)}
-@item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
-@item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
-@item @notation{15vb}: @notation{alla quindicesima (bassa)}
-
-@end itemize
-
-In the phrases above, @notation{quindicesima} is sometimes replaced with
-@notation{quindecima}, which is Latin.
-
-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}.
-
-
-@node octave marking
-@section octave marking
-
-ES: a la octava,
-I: all'ottava,
-F: octaviation,
-D: Oktavierung,
-NL: octaveren,
-DK: oktavering,
-S: oktavering,
-FI: oktaavamerkintä.
-
-The practice of marking music -- an entire staff, a passage, etc. -- to indicate
-that it is to be played in a different octave. If applied to the clef at the
-beginning of the staff, all music on that staff is to played at the indicated
-octave.
-
-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}.
-
-
-@node ornament
-@section ornament
-
-ES: adorno,
-I: abbellimento, fioriture,
-F: agrément, ornement,
-D: Verzierung, Ornament,
-NL: versiering,
-DK: forsiring,
-S: ornament,
-FI: koru, hele.
-
-Most commonly used is the @emph{trill}, the rapid alternation of a given note
-with the diatonic @ref{second} above it. In the music from the
-middle of the 19th century and onwards the trill is performed with the main
-note first while in the music from the preceding baroque and classic periods
-the upper note is played first.
-
-@lilypond[quote,line-width=13.0\cm]
-<<
- \context Staff = sa {
- \relative c'' {
- c2._"pre-1850" b4\trill | c1 \bar "||"
- c2._"post-1850" b4\trill | c1 \bar "||"
- }
- }
- \relative c'' {
- c2. c32 b c b c b c b | c1
- c2. b32 c b c \times 4/5 { b c b c b } | c1
- }
->>
-@end lilypond
-
-Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
-the
-@emph{prall} (inverted mordent).
-
-@lilypond[quote,line-width=13.0\cm]
-<<
- \context Staff = sa {
- \relative c'' {
- a4_"turn" b\turn c2 \bar "||"
- g4_"mordent" a b\mordent a \bar "||"
- e'4_"prall" d\prall c2 \bar "||"
- }
- }
- \relative c'' {
- a4 c16[ b a b] c2
- g4 a b16-[ a b8] a4
- e'4 e32[ d e d ~ d8] c2
- }
->>
-@end lilypond
-
-@seealso
-@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
-
-
-@node ossia
-@section ossia
-
-ES: ossia,
-I: ossia,
-F: ossia,
-D: Ossia,
-NL: alternatief,
-DK: ossia,
-S: ossia,
-FI: ossia, vaihtoehtoinen esitystapa.
-
-Ossia (otherwise) marks an alternative. It is an added staff or piano
-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
-
-ES: parte,
-I: voce, parte,
-F: partie,
-D: Stimme,
-NL: partij,
-DK: stemme,
-S: stämma,
-FI: stemma, instrumenttiosuus.
-
-@itemize
-
-@item In instrumental or choral music, the music for a single
-instrument or voice.
-
-@item in contrapuntal music, a single melodic line in the contrapuntal
-web.
-
-@end itemize
-
-@seealso
-@ref{counterpoint}
-
-
-@node pause
-@section pause
-
-@seealso
-@ref{fermata}.
-
-
-@node pennant
-@section pennant
-
-@seealso
-@ref{flag}.
-
-
-@node percent repeat
-@section percent repeat
-
-LilyPond-specific term to indicate the repetition of a musical expression on a
-single staff, as opposed to the more usual definition of repeat, which affects
-all parts. The musical expression can be anything from a single note or note
-pattern to one or more measures. There are other names for this symbol:
-
-@itemize
-
-@item simile mark
-@item slash mark, or slash repeat
-@item beat repeat
-@item measure (or multi-measure) repeat
-
-@end itemize
-
-@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" | }
-@end lilypond
-
-@seealso
-@ref{repeat},
-@uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
-Vermont Music Dictionary}.
-
-
-@node percussion
-@section percussion
-
-ES: percusión,
-I: percussioni,
-F: percussion,
-D: Schlagzeug, Schlagwerk,
-NL: slagwerk,
-DK: slagtøj,
-S: slagverk,
-FI: lyömäsoittimet.
-
-A family of musical instruments which are played on by striking or
-shaking. Percussion instruments commonly used in a symphony orchestra are
-kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
-tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
-and xylophone.
-
-@seealso
-No cross-references.
-
-
-@node perfect interval
-@section perfect interval
-
-ES: intervalo justo,
-I: intervallo giusto,
-F: intervalle juste,
-D: reines Intervall,
-NL: rein interval,
-DK: rent interval,
-S: rent intervall,
-FI: puhdas intervalli.
-
-@seealso
-@ref{interval}.
-
-
-@node phrase
-@section phrase
-
-ES: frase,
-I: frase,
-F: phrase,
-D: Phrase,
-NL: frase, zin,
-DK: frase,
-S: fras,
-FI: fraasi, lause.
-
-A natural division of the melodic line, comparable to a sentence of speech.
-
-@seealso
-@ref{caesura}.
-
-
-@node phrasing
-@section phrasing
-
-ES: fraseo,
-I: fraseggio,
-F: phrasé,
-D: Phrasierung,
-NL: frasering,
-DK: frasering,
-S: fra@-se@-ring,
-FI: fraseeraus, jäsentäminen.
-
-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
-@section piano
-
-ES: piano,
-I: piano,
-F: piano,
-D: piano, leise,
-NL: piano,
-DK: piano,
-S: piano,
-FI, piano, hiljaa.
-
-@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
-
-ES: anacrusa,
-I: anacrusi,
-F: anacrouse, levée,
-D: Auftakt,
-NL: opmaat,
-DK: optakt,
-S: upptakt,
-FI: kohotahti.
-
-@seealso
-@ref{anacrusis}.
-
-
-@node pitch
-@section pitch
-
-ES: altura,
-I: altezza,
-F: hauteur,
-D: Tonhöhe,
-NL: toonhoogte,
-DK: tonehøjde,
-S: tonhöjd,
-FI: sävelkorkeus.
-
-@enumerate
-
-@item The perceived quality of a sound that is primarily a function of its
-fundamental frequency.
-
-@item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
-
-@item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
-association of a particular frequency with a particular pitch name, e.g., c' =
-256 Hz.
-
-@end enumerate
-
-@seealso
-@ref{Pitch names}.
-
-
-@node pizzicato
-@section pizzicato
-
-ES: pizzicato,
-I: pizzicato,
-F: pizzicato,
-D: pizzicato,
-NL: pizzicato, getokkeld,
-DK: pizzicato,
-S: pizzicato,
-FI: pizzicato, näppäillen.
-
-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: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: monia tahtiosoituksia sisältävä.
-
-@itemize
-
-@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.)
-
-
-@node polymetric
-@section polymetric
-
-ES: polimétrico,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
-
-Characterized by @emph{polymeter}: using two or more metric frameworks
-simultaneously or in alternation.
-
-@seealso
-@ref{polymeter} (noun)
-
-
-@node polymetric time signature
-@section polymetric time signature
-
-ES: compás polimétrico,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: vaihtelevan tahtiosoitusmerkintä.
-
-A time signature that indicates regularly alternating polymetric time.
-
-@seealso
-@ref{polymetric}.
-
-
-@node polyphony
-@section polyphony
-
-ES: polifonía,
-I: polifonia,
-F: polyphonie,
-D: Polyphonie, Mehrstimmigkeit,
-NL: polyfonie,
-DK: polyfoni,
-S: polyfoni,
-FI: polyfonia, moniäänisyys.
-
-Music written in a combination of several simultaneous voices (parts)
-of a more or less pronounced individuality.
-
-@seealso
-@ref{counterpoint}.
-
-
-@node portato
-@section portato
-
-[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}.
-
-
-@node presto
-@section presto
-
-ES: presto,
-I: presto,
-F: presto,
-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
-
-ES: proporción,
-I: proprozione (?),
-F: proportion,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-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
-
-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}.
-
-
-@node Pythagorean comma
-@section Pythagorean comma
-
-ES: coma pitagórica,
-I: comma pitagorico,
-F: comma pythagoricien,
-D: Pythagoräisches Komma,
-NL: komma van Pythagoras,
-DK: pythagoræisk komma,
-S: pytagoreiskt komma,
-FI: pytagorinen komma.
-
-Originally, the interval by which the sum of six whole tones exceeds the octave
--- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
-
-Modern acoustical theory defines it as the interval by which twelve fifths
-exceed seven octaves. To put it another way: A sequence of fifths that starts
-on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
-than the C obtained by adding 7 octaves. The difference between those two
-pitches is the Pythagorean comma.
-
-@seealso
-@ref{cent}, @ref{temperament}.
-
-
-@node quadruplet
-@section quadruplet
-
-ES: cuatrillo,
-I: quartina,
-F: quartolet,
-D: Quartole,
-NL: kwartool,
-DK: kvartol,
-S: kvartol,
-FI: kvartoli.
-
-@seealso
-@ref{note value}.
-
-
-@node quality
-@section quality
-
-ES: ?,
-I: qualità (?),
-F: qualité (?),
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-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
-first element is the root note (or simply @q{root}) of the chord, the second
-note is the @q{third} of the chord, and the last note is the @q{fifth} of
-the chord. These are described below:
-
-@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
- @tab C-E-G
- @tab C, CM, Cma, Cmaj, CΔ
-@item minor triad @tab minor third/perfect fifth
- @tab C-E♭-G
- @tab Cm, Cmi, Cmin, C-
-@item augmented triad @tab major third/augmented fifth
- @tab C-E-G♯
- @tab C+, C^+, Caug
-@item diminished triad @tab minor third/diminished fifth
- @tab C-E♭-G♭
- @tab Cm(♭5), Cº, Cdim
-@end multitable
-
-There are various types of seventh chords depending on the quality of the
-original chord and the quality of the seventh added.
-
-Five common types of seventh chords have standard symbols. The chord quality
-indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
-and D^m7 are all identical). The last three chords are not commonly used
-except in jazz.
-
-@seealso
-@ref{chord}.
-
-
-@node quarter note
-@section quarter note
-
-@itemize
-@item UK: crotchet
-@item ES: negra
-@item I: semiminima, nera
-@item F: noire
-@item D: Viertel, Viertelnote
-@item NL: kwartnoot
-@item DK: fjerdedelsnode
-@item S: fjärdedelsnot
-@item FI: neljäsosanuotti
-@end itemize
-
-@seealso
-@ref{note value}.
-
-
-@node quarter rest
-@section quarter rest
-
-@itemize
-@item UK: crotchet rest
-@item ES: silencio de negra
-@item I: pausa di semiminima
-@item F: soupir
-@item D: Viertelpause
-@item NL: kwartrust
-@item DK: fjerdedelspause
-@item S: fjärdedelspaus
-@item FI: neljäsosatauko
-@end itemize
-
-@seealso
-@ref{note value}.
-
-
-@node quarter tone
-@section quarter tone
-
-ES: cuarto de tonno,
-I: ?,
-F: quart de ton,
-D: Viertelton,
-NL: kwart toon,
-DK: ?,
-S: kvartston,
-FI: neljännessävelaskel.
-
-An interval equal to half a semitone.
-
-@seealso
-@ref{interval}
-
-
-@node quintuplet
-@section quintuplet
-
-ES: cinquillo, quintillo.
-I: quintina,
-F: quintolet,
-D: Quintole,
-NL: kwintool,
-DK: kvintol,
-S: kvintol,
-FI: kvintoli.
-
-@seealso
-@ref{note value}.
-
-
-@node rallentando
-@section rallentando
-
-ES: rallentando,
-I: rallentando,
-F: rallentando,
-D: rallentando, langsamer werden,
-NL: rallentando,
-DK: rallentando,
-S: rallentando,
-FI: rallerdando, hidastuen.
-
-[Italian] A performance indication, abbreviated "rall.".
-
-@seealso
-@ref{ritardando}.
-
-
-@node relative key
-@section relative key
-
-ES: tono relativo,
-I: tonalità relativa,
-F: tonalité relative,
-D: Paralleltonart,
-NL: paralleltoonsoort,
-DK: paralleltoneart,
-S: parallelltonart,
-FI: rinnakkaissävellaji.
-
-Major and minor keys that have the same key signature.
-
-@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[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
-
-ES: repetición,
-I: ritornello,
-F: barre de reprise,
-D: Wiederholung,
-NL: herhaling,
-DK: gen@-ta@-gel@-se,
-S: repris,
-FI: toisto.
-
-@lilypond[quote,relative=2,line-width=13.0\cm]
-\key g \major
-\time 4/4
-\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
-
-ES: silencio,
-I: pausa,
-F: silence,
-D: Pause,
-NL: rust,
-DK: pause,
-S: paus,
-FI: tauko.
-
-@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}.
-
-
-@node rhythm
-@section rhythm
-
-ES: ritmo,
-I: ritmo,
-F: rythme,
-D: Rhythmus,
-NL: ritme,
-DK: rytme,
-S: rytm,
-FI: rytmi.
-
-@itemize
-
-@item Metrical rhythm in which every time value is a multiple or
-fraction of a fixed unit of time, called @ref{beat}, and in which the
-normal @ref{accent} recurs in regular intervals, called @ref{measure}.
-The basic scheme of time values is called @ref{meter}.
-
-@item Measured rhythm which lacks regularly recurrent accent. In
-modern notation such music appears as a free alternation of different
-measures.
-
-@item Free rhythm, i.e., the use of temporal values having no common
-metrical unit (beat).
-
-@end itemize
-
-@seealso
-No cross-references.
-
-
-@node ritardando
-@section ritardando
-
-ES: ritardando,
-I: ritardando,
-F: ritardando,
-D: ritardando, langsamer werden,
-NL: ritardando,
-DK: ritardando,
-S: ritardando,
-FI: ritardando, hidastuen,
-
-Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
-
-@seealso
-No cross-references.
-
-
-@node ritenuto
-@section ritenuto
-
-ES: ritenuto,
-I: ritenuto,
-F: ritenuto,
-D: ritenuto,
-NL: ritenuto,
-DK: ritenuto,
-S: ritenuto,
-FI: ritenuto, hidastaen.
-
-Immediate reduction of speed.
-
-@seealso
-No cross-references.
-
-
-@node scale
-@section scale
-
-ES: escala,
-I: scala,
-F: gamme,
-D: Tonleiter,
-NL: toonladder,
-DK: Skala,
-S: skala,
-FI: asteikko, sävelasteikko.
-
-@seealso
-@ref{diatonic scale}.
-
-
-@node scale degree
-@section scale degree
-
-ES: grado (de la escala),
-I: grado della scala,
-F: degré [de la gamme],
-D: Tonleiterstufe,
-NL: trap [van de toonladder],
-DK: skalatrin,
-S: skalsteg (?),
-FI: sävelaste, asteikon sävel.
-
-Names and symbols used in harmonic analysis to denote tones of the
-scale as roots of chords. The most important are degrees I = tonic
-(T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
-
-@lilypond[quote,notime,line-width=13.0\cm]
-<<
-\new Staff \relative c' {
- c1 d e f g a b c
-}
- \lyrics {
- << { I II III IV V VI VII I }
- { T "" "" S D } >>
-}
->>
-@end lilypond
-
-@seealso
-@ref{functional harmony}.
-
-
-@node scordatura
-@section scordatura
-
-ES: encordado,
-I: scordatura,
-F: à cordes ravallées,
-D: Skordatur,
-NL: ?,
-DK: ?,
-S: ?,
-FI: epätavallinen viritys.
-
-[Italian: @emph{scordare}, @q{to mistune}] Unconventional
-tuning of stringed instruments, particularly lutes or violins. Used
-to:
-
-@itemize
-
-@item facilitate pitch combinations that would otherwise be difficult
-or impossible
-
-@item alter the characteristic timbre of the instrument, for example,
-to increase brilliance
-
-@item reinforce certain sonorities or tonalities by making them
-available on open strings
-
-@item imitate other instruments
-
-@item etc.
-
-@end itemize
-
-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,
-D: Partitur (full score), Klavierauszug (vocal score),
-NL: partituur,
-DK: partitur,
-S: partitur,
-FI: partituuri.
-
-A copy of orchestral, choral, or chamber music showing what each
-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
-
-ES: segunda,
-I: secunda,
-F: seconde,
-D: Sekunde,
-NL: secunde,
-DK: sekund,
-S: sekund,
-FI: sekunti.
-
-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
-@section semitone
-
-ES: semitono,
-I: semitono,
-F: demi-ton,
-D: Halbton,
-NL: halve toon,
-DK: halvtone,
-S: halvton,
-FI: puolisävel.
-
-The interval of a minor second. The (usually) smallest interval in European
-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[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}.
-
-
-@node seventh
-@section seventh
-
-ES: séptima,
-I: settima,
-F: septième,
-D: Septime,
-NL: septiem,
-DK: septim,
-S: septim,
-FI: septimi.
-
-@seealso
-@ref{interval}.
-
-
-@node sextolet
-@section sextolet
-
-@seealso
-@ref{sextuplet}, @ref{note value}.
-
-
-@node sextuplet
-@section sextuplet
-
-ES: seisillo,
-I: sestina,
-F: sextolet,
-D: Sextole,
-NL: sextool,
-DK: sekstol,
-S: sextol,
-FI: sekstoli.
-
-@seealso
-@ref{note value}.
-
-
-@node shake
-@section shake
-
-@seealso
-@ref{trill}.
-
-
-@node sharp
-@section sharp
-
-ES: sostenido,
-I: diesis,
-F: dièse,
-D: Kreuz,
-NL: kruis,
-DK: kryds,
-S: kors@-förtecken,
-FI: korotusmerkki.
-
-@seealso
-@ref{accidental}.
-
-
-@node simile
-@section simile
-
-ES: simile,
-I: simile,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: samoin.
-
-[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?
-
-
-@node simple meter
-@section simple meter
-
-ES: compás simple, compás de subdivisión binaria,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-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}.
-
-
-@node sixteenth note
-@section sixteenth note
-
-@itemize
-@item UK: semiquaver
-@item ES: semicorchea
-@item I: semicroma
-@item F: double croche
-@item D: Sechzehntel, Sechzehntelnote
-@item NL: zestiende noot
-@item DK: sekstendedelsnode
-@item S: sextondelsnot
-@item FI: kuudestoistaosanuotti
-@end itemize
-
-@seealso
-@ref{note value}.
-
-
-@node sixteenth rest
-@section sixteenth rest
-
-@itemize
-@item UK: semiquaver rest
-@item ES: silencio de semicorchea
-@item I: pausa di semicroma
-@item F: quart de soupir
-@item D: Sechzehntelpause
-@item NL: zestiende rust
-@item DK: sekstendedelspause
-@item S: sextondelspaus
-@item FI: kuudestoistaosatauko
-@end itemize
-
-@seealso
-@ref{note value}.
-
-
-@node sixth
-@section sixth
-
-ES: sexta,
-I: sesta,
-F: sixte,
-D: Sexte,
-NL: sext,
-DK: sekst,
-S: sext,
-FI: seksti.
-
-@seealso
-@ref{interval}.
-
-
-@node sixty-fourth note
-@section sixty-fourth note
-
-@itemize
-@item UK: hemidemisemiquaver
-@item ES: semifusa
-@item I: semibiscroma
-@item F: quadruple croche
-@item D: Vierundsechzigstel, Vierundsechzigstelnote
-@item NL: vierenzestigste noot
-@item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
-@item S: sextiofjärdedelsnot
-@item FI: kuudeskymmenesneljäsosanuotti
-@end itemize
-
-@seealso
-@ref{note value}.
-
-
-@node sixty-fourth rest
-@section sixty-fourth rest
-
-@itemize
-@item UK: hemidemisemiquaver rest
-@item ES: silencio de semifusa
-@item I: pausa di semibiscroma
-@item F: seizième de soupir
-@item D: Vierundsechzigstelpause
-@item NL: vierenzestigste rust
-@item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
-@item S: sextiofjärdedelspaus
-@item FI: kuudeskymmenesneljäsosatauko
-@end itemize
-
-@seealso
-@ref{note value}.
-
-
-@node slash repeat
-@section slash repeat
-
-@seealso
-@ref{percent repeat}.
-
-
-@node slur
-@section slur
-
-ES: ligadura (de expresión),
-I: legatura (di portamento or espressiva),
-F: liaison, coulé,
-D: Bogen (Legatobogen, Phrasierungsbogen),
-NL: fraseringsboog, legatoboog, streekboog,
-DK: legatobue, fraseringsbue,
-S: båge,
-FI: kaari.
-
-A slur above or below a group of notes indicates that they are to be
-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
-
-ES: solmisación,
-I: solmisazione,
-F: solmisation,
-D: Solmisation,
-NL: solmizatie,
-DK: solmisation,
-S: solmisation,
-FI: suhteelliset laulunimet.
-
-General term for systems of designating the degrees of the
-@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})).
-
-@seealso
-@ref{scale}, @ref{scale degree}.
-
-
-@node sonata
-@section sonata
-
-ES: sonata,
-I: sonata,
-F: sonate,
-D: Sonate,
-NL: sonate,
-DK: sonate,
-S: sonat,
-FI: sonaatti.
-
-In its present-day meaning a sonata denotes an instrumental
-composition for piano or for some other instrument with piano
-accompaniment, which consists of three or four independant pieces,
-called movements.
-
-@seealso
-No cross-references.
-
-
-@node sonata form
-@section sonata form
-
-ES: forma sonata,
-I: forma sonata,
-F: [en] forme de sonate,
-D: Sonatenform,
-NL: hoofdvorm, sonatevorm,
-DK: sonateform,
-S: sonatform,
-FI: sonaattimuoto.
-
-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}.
-
-
-@node soprano
-@section soprano
-
-ES: soprano,
-I: soprano,
-F: soprano,
-D: Sopran,
-NL: sopraan,
-DK: sopran,
-S: sopran,
-FI: sopraano, korkea naisääni.
-
-The highest female voice.
-
-@seealso
-No cross-references.
-
-
-@node staccato
-@section staccato
-
-ES: picado,
-I: staccato,
-F: staccato, piqué, détaché,
-D: staccato,
-NL: staccato,
-DK: staccato,
-S: staccato,
-FI: staccato, lyhyesti, terävästi.
-
-Playing the note(s) short. Staccato is indicated by a dot above or
-below the note head.
-
-@lilypond[quote,relative=2]
-\key d \major
-\time 4/4
- \partial 8 a8 |
- d4-\staccato cis-\staccato b-\staccato cis-\staccato |
- d2.
- \bar "||"
-@end lilypond
-
-@seealso
-No cross-references.
-
-
-@node staff
-@section staff
-
-UK: stave,
-ES: pentagrama,
-I: pentagramma, rigo (musicale),
-F: portée,
-D: Notensystem, Notenzeile,
-NL: (noten)balk, partij,
-DK: nodesystem,
-S: notsystem,
-FI: nuottiviivasto.
-
-A staff (plural: staves) is a series of (normally five) horizontal
-lines upon and between which the musical notes are written, thus
-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}.
-
-
-@node stem
-@section stem
-
-ES: plica,
-I: gamba,
-F: queue,
-D: Hals, Notenhals, Stiel,
-NL: stok,
-DK: hals,
-S: skaft,
-FI: nuottipalkki.
-
-Vertical line above or below a @ref{note head} shorter than a
-whole note.
-
-@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
-@end lilypond
-
-@seealso
-@ref{beam}.
-
-
-@node stringendo
-@section stringendo
-
-ES: ?,
-I: stringendo,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: kiihdyttäen, nopeuttaen.
-
-[Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
-climax.
-
-@seealso
-@ref{accelerando}.
-
-
-@node strings
-@section strings
-
-ES: arcos, cuerdas,
-I: archi,
-F: cordes,
-D: Streicher,
-NL: strijkers,
-DK: strygere,
-S: stråkar,
-FI: jouset.
-
-A family of stringed musical instruments played with a bow. Strings
-commonly used in a symphony orchestra are violin, viola, violoncello,
-and double bass.
-
-@seealso
-No cross-references.
-
-
-@node strong beat
-@section strong beat
-
-ES: tiempo fuerte,
-I: tempo forte,
-F: temps fort,
-D: betonter Taktteil oder Taktschlag,
-NL: thesis,
-D: betonet taktslag,
-S: betonat taktslag,
-FI: tahdin vahva isku.
-
-@seealso
-@ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
-
-
-@node subdominant
-@section subdominant
-
-ES: subdominante,
-I: sottodominante,
-F: sous-dominante,
-D: Subdominante,
-NL: subdominant,
-DK: subdominant,
-S: subdominant,
-FI: subdominantti, alidominantti.
-
-The fourth @notation{scale degree}.
-
-@seealso
-@ref{functional harmony}, @ref{scale degree}.
-
-
-@node submediant
-@section submediant
-
-ES: submediante,
-I: sopratonica,
-F: sous-médiante,
-D: Submediante,
-NL: submediant,
-DK: Submediant,
-S: submediant,
-FI: alikeskisävel.
-
-The sixth @notation{scale degree}.
-
-@seealso
-@ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
-
-
-@node subtonic
-@section subtonic
-
-ES: subtónica,
-I: sottotonica,
-F: sous-tonique,
-D: Subtonika,
-NL: subtonica,
-DK: Subtonika,
-S: subtonika,
-FI: subtoonika, alitoonika.
-
-The seventh @ref{scale degree}.
-
-@seealso
-@ref{functional harmony}, @ref{scale degree}.
-
-
-@node sul G
-@section sul G
-
-ES: sobre la cuerda de Sol,
-I: sul g,
-F: sur la G,
-D: auf G, auf der G-Saite,
-NL: ?,
-DK: ?,
-S: ?,
-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
-
-ES: superdominante,
-I: sopradominante,
-F: sus-dominante,
-D: Superdominante,
-NL: superdominant,
-DK: superdominant,
-S: superdominant,
-FI: ylidominantti.
-
-The sixth @ref{scale degree}.
-
-@seealso
-@ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
-
-
-@node supertonic
-@section supertonic
-
-ES: supertónica,
-I: sopratonica,
-F: sus-tonique,
-D: Supertonika,
-NL: supertonica,
-DK: supertonika,
-S: supertonika,
-FI: ylitoonika.
-
-The second @ref{scale degree}.
-
-@seealso
-@ref{functional harmony}, @ref{scale degree}.
-
-
-@node symphony
-@section symphony
-
-ES: sinfonía,
-I: sinfonia,
-F: symphonie,
-D: Sinfonie, Symphonie,
-NL: symfonie,
-DK: symfoni,
-S: symfoni,
-FI: sinfonia.
-
-A symphony may be defined as a @emph{sonata} for orchestra.
-
-@seealso
-@ref{sonata}.
-
-
-
-@node syncopation
-@section syncopation
-
-ES: síncopa,
-I: sincope,
-F: syncope,
-D: Synkope,
-NL: syncope,
-DK: synkope,
-S: synkop,
-FI: synkooppi.
-
-Any deliberate upsetting of the normal pulse of @ref{meter},
-@ref{accent}, and @ref{rhythm}. The occidental system of musical
-rhythm rests upon the grouping of equal beats into groups of two or
-three, with a regularly recurrent accent on the first beat of each
-group. Any deviation from this scheme is felt as a disturbance or
-contradiction between the underlaying (normal) pulse and the actual
-(abnormal) rhythm.
-
-@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
-
-ES: coma sintónica, coma de Dídimo,
-I: comma sintonico (o didimico),
-F: comma syntonique,
-D: syntonisches Komma,
-NL: syntonische komma,
-DK: syntonisk komma,
-S: syntoniskt komma,
-FI: syntoninen komma, terssien taajuusero luonnollisessa ja
-Pytagorisessa viritysjärjestelmässä.
-
-Named after Ptolemy's syntonic diatonic genus. Originally, the difference
-by which the ditone exceeds the pure major third obtained by Pythagorean
-tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
-
-Modern acoustical theory defines it as the interval by which four fifths exceed
-the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
-
-This comma is also known as the comma of Didymus, or didymic comma.
-
-@seealso
-@ref{Pythagorean comma}
-
-
-@node system
-@section system
-
-ES: sistema,
-I: accollatura,
-F: système,
-D: Notensystem, Partitur,
-NL: systeem,
-DK: system,
-S: system,
-FI: nuottijärjestelmä.
-
-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
-
-ES: temperamento,
-I: temperamento,
-F: tempérament,
-D: Stimmung, Tem@-pe@-ra@-tur,
-NL: stemming, temperatuur,
-DK: temperatur,
-S: temperatur,
-FI: viritysjärjestelmä.
-
-Systems of tuning in which the intervals deviate from the acoustically
-pure intervals.
-
-@seealso
-@ref{meantone temperament}, @ref{equal temperament}.
-
-
-@node tempo indication
-@section tempo indication
-
-ES: indicación de tempo,
-I: indicazione di tempo,
-F: indication de tempo,
-D: Zeitmaß, Tempobezeichnung,
-NL: tempo aanduiding,
-DK: tempobetegelse,
-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 @notation{largo},
-@notation{adagio}, @notation{andante}, @notation{allegro}, and
-@notation{presto}.
-
-@seealso
-@ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
-
-
-
-@node tenor
-@section tenor
-
-ES: tenor,
-I: tenore,
-F: ténor,
-D: Tenor,
-NL: tenor,
-DK: tenor,
-S: tenor,
-FI: tenori, korkea miesääni.
-
-The highest @q{natural} male voice (apart from @notation{countertenor}).
-
-@seealso
-@ref{countertenor}.
-
-
-@node tenth
-@section tenth
-
-ES: décima,
-I: decima,
-F: dixième,
-D: Dezime,
-NL: deciem,
-DK: decim,
-S: decima,
-FI: desimi.
-
-@seealso
-@ref{note value}.
-
-
-@node tenuto
-@section tenuto
-
-ES: subrayado (tenuto),
-I: tenuto,
-F: tenue, tenuto,
-D: gehalten, tenuo,
-NL: tenuto,
-DK: tenuto,
-S: tenuto,
-FI: viiva, tenuto.
-
-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
-
-ES: tercera,
-I: terza,
-F: tierce,
-D: Terz,
-NL: terts,
-DK: terts,
-S: ters,
-FI: terssi.
-
-@seealso
-@ref{interval}.
-
-
-@node thirty-second note
-@section thirty-second note
-
-@itemize
-@item UK: demisemiquaver
-@item ES: fusa
-@item I: biscroma
-@item F: triple croche
-@item D: Zweiunddreissigstel, Zweiunddreissigstelnote
-@item NL: twee@-endertig@-ste (32e) noot
-@item DK: toogtredivtedelsnode
-@item S: trettiotvåondelsnot
-@item FI: kolmaskymmeneskahdesosanuotti
-@end itemize
-
-@seealso
-@ref{note value}.
-
-
-@node thirty-second rest
-@section thirty-second rest
-
-@itemize
-@item UK: demisemiquaver rest
-@item ES: silencio de fusa
-@item I: pausa di biscroma
-@item F: huitième de soupir
-@item D: Zweiunddreissigstel@-pause
-@item NL: twee@-endertig@-ste (32e) rust
-@item DK: toogtredivtedelspause
-@item S: trettiotvåondelspaus
-@item FI: kolmaskymmeneskahdesosatauko
-@end itemize
-
-@seealso
-@ref{note value}.
-
-
-@node thorough bass
-@section thorough bass
-
-@seealso
-@ref{figured bass}.
-
-
-@node tie
-@section tie
-
-ES: ligadura de prolongación, ligadura de unión,
-I: legatura (di valore),
-F: liaison,
-D: Haltebogen, Bindebogen,
-NL: overbinding, bindingsboog,
-DK: bindebue,
-S: bindebåge, överbindning,
-FI: sitominen.
-
-A curved line, identical in appearance with the @ref{slur}, which
-connects two succesive notes of the same pitch, and which has the
-function of uniting them into a single sound (tone) equal to the
-combined durations.
-
-@lilypond[quote,notime,relative=2]
-g2 ~ g4. r8
-@end lilypond
-
-
-@node time
-@section time
-
-@seealso
-@ref{meter}.
-
-
-@node time signature
-@section time signature
-
-ES: indicación de compás,
-I: segni di tempo,
-F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
-D: Taktangabe, Angabe der Taktart,
-NL: maatsoort,
-DK: taktangivelse,
-S: taktartssignatur,
-FI: tahtiosoitus.
-
-The sign placed at the beginning of a composition to indicate its
-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{mensuration sign}, @ref{meter}.
-
-
-@node tone
-@section tone
-
-ES: tono,
-I: suono,
-F: ton,
-D: Ton,
-NL: toon,
-DK: tone,
-S: ton,
-FI: ääni.
-
-A sound of definite pitch and duration, as distinct from @emph{noise}.
-Tone is a primary building material of music.
-
-@c Music from the 20th century may be based on atonal sounds. Meh, not so much
-
-@seealso
-No cross-references.
-
-
-@node tonic
-@section tonic
-
-ES: tónica,
-I: tonica,
-F: tonique,
-D: Tonika,
-NL: tonica,
-DK: tonika,
-S: tonika,
-FI: toonika.
-
-The first @notation{scale degree}.
-
-@seealso
-@ref{functional harmony}, @ref{scale degree}.
-
-
-@node transposing instrument
-@section transposing instrument
-
-ES: instrumento transpositor,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-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
-reduce the number of ledger lines needed), most such instruments are identified
-by the letter name of the pitch class of their fundamental. The pitch class is
-the note that @emph{sounds} (disregarding the octave in which it sounds) when
-the instrument plays a notated C.
-
-For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
-the B-flat one tone lower. If played on the A clarinet, the same written
-note sounds the A (one and half tones -- a minor third -- lower).
-
-Not all transposing instruments include the pitch class in their name:
-
-@itemize
-
-@item English horn (in F)
-
-@item Alto flute (in G)
-
-@end itemize
-
-@seealso
-@ref{concert pitch}.
-
-
-@node transposition
-@section transposition
-
-ES: transporte,
-I: trasposizione,
-F: transposition,
-D: Transposition,
-NL: transpositie,
-DK: transposition,
-S: transponering,
-FI: transponointi.
-
-Shifting a melody up or down in pitch, while keeping the same
-relative pitches.
-
-@lilypond[quote,line-width=13.0\cm]
-\context Staff {
- \time 3/4
- \relative c'' {
- \key g \major
- d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
- }
-}
-@end lilypond
-
-@lilypond[quote,line-width=13.0\cm]
-\context Staff {
- \time 3/4
- \transpose c bes \relative c'' {
- \key g \major
- d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
- }
-}
-@end lilypond
-
-@seealso
-No cross-references.
-
-
-@node treble clef
-@section treble clef
-
-ES: clave de sol,
-I: chiave di violino,
-F: clef de sol,
-D: Violinschlüssel, Sopranschlüssel,
-NL: viool sleutel,
-DK: diskantnøgle,
-S: diskantklav,
-FI: diskanttiavain.
-
-@seealso
-@ref{G clef}.
-
-
-@node tremolo
-@section tremolo
-
-ES: trémolo,
-I: tremolo,
-F: trémolo,
-D: Tremolo,
-NL: tremolo,
-DK: tremolo,
-S: tremolo,
-FI: tremolo.
-
-On stringed instruments:
-
-@enumerate
-
-@item The quick reiteration of the same tone, produced by a rapid
-up-and-down movement of the bow.
-
-@item Or, the rapid alternation between two notes of a @ref{chord}, usually
-in the distance of a third (@ref{interval}).
-
-@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 }
-@end lilypond
-
-@seealso
-@ref{strings}
-
-
-@node triad
-@section triad
-
-ES: tríada,
-I: triade,
-F: triade, accord parfait, accord de trois sons,
-D: Drei@-klang,
-NL: drieklank,
-DK: treklang,
-S: treklang,
-FI: kolmisointu.
-
-@seealso
-@ref{chord}.
-
-
-@node trill
-@section trill
-
-ES: trino,
-I: trillo,
-F: trille, tremblement, battement (cadence),
-D: Triller,
-NL: triller,
-DK: trille,
-S: drill,
-FI: trilli.
-
-@seealso
-@ref{ornament}.
-
-
-@node triple meter
-@section triple meter
-
-ES: compás ternario,
-I: tempo ternario,
-F: mesure ternaire,
-D: in drei, ungerader Takt,
-NL: driedelige maatsoort,
-DK: tredelt takt,
-S: tretakt,
-FI: kolmijakoinen.
-
-@seealso
-@ref{meter}.
-
-
-@node triplet
-@section triplet
-
-ES: tresillo,
-I: terzina,
-F: triolet,
-D: Triole,
-NL: triool,
-DK: triol,
-S: triol,
-FI: trioli.
-
-@seealso
-@ref{note value}.
-
-
-@node tritone
-@section tritone
-
-ES: tritono,
-I: tritono,
-F: triton,
-D: Tritonus,
-NL: tritoon,
-DK: tritonus,
-S: tritonus,
-FI: tritonus.
-
-@seealso
-@ref{interval}.
-
-
-@node tuning fork
-@section tuning fork
-
-ES: diapasón, horquilla de afinación,
-I: diapason, corista,
-F: diapason,
-D: Stimmgabel,
-NL: stemvork,
-DK: stemmegaffel,
-S: stämgaffel,
-FI: viritysavain.
-
-A two-pronged piece of steel used to indicate an absolute pitch, usually for
-@emph{A} above middle C (440 cps/Hz), which is the international tuning
-standard. Tuning forks for other pitches are available.
-
-@seealso
-@ref{middle C}.
-
-
-@node tuplet
-@section tuplet
-
-A non-standard subdivision of a beat or part of a beat, usually
-indicated with a bracket and a number indicating the number of
-subdivisions.
-
-@seealso
-@ref{triplet}, @ref{note value}.
-
-
-@node turn
-@section turn
-
-ES: grupeto (circular),
-I: gruppetto,
-F: grupetto,
-D: Doppelschlag,
-NL: dubbelslag,
-DK: dobbeltslag,
-S: dubbelslag,
-FI: korukuvio.
-
-@seealso
-@ref{ornament}.
-
-
-@node unison
-@section unison
-
-ES: unísono,
-I: unisono,
-F: unisson,
-D: unisono,
-NL: unisono,
-DK: unison,
-S: unison,
-FI: unisono, yksiäänisesti.
-
-Playing of the same notes or the same melody by various instruments
-(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
-
-ES: anacrusa,
-I: anacrusi,
-F: anacrouse, levée,
-D: Auftakt,
-NL: opmaat,
-DK: optakt,
-S: upptakt,
-FI: kohotahti.
-
-@seealso
-@ref{anacrusis}
-
-
-@node voice
-@section voice
-
-ES: voz,
-I: voce,
-F: voix,
-D: Stimme,
-NL: stem,
-DK: stemme,
-S: stämma,
-FI: ääni, lauluääni.
-
-@itemize
-
- @item Human voices:
-
- @itemize
- @item @ref{soprano}
- @item @ref{mezzo-soprano}
- @item @ref{contralto}
- @item @ref{tenor}
- @item @ref{baritone}
- @item @ref{bass}
- @end itemize
-
- @item A melodic layer or part of a polyphonic composition.
-
-@end itemize
-
-@seealso
-No cross-references.
-
-
-@node volta
-@section volta
-
-ES: vez, primera y segunda vez,
-I: volta,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: yksi kertauksen maaleista.
-
-[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
-No cross-references.
-
-
-@node weak beat
-@section weak beat
-
-ES: tiempo débil,
-I: tempo debole, arsi,
-F: temps faible,
-D: unbetonter Taktteil oder Taktschlag,
-NL: arsis,
-DK: ubetonet taktslag,
-S: obetonat taktslag,
-FI: tahdin heikko isku.
-
-@seealso
-@ref{beat}, @ref{measure}, @ref{rhythm}.
-
-
-@node whole note
-@section whole note
-
-@itemize
-@item UK: semibreve
-@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
-
-@seealso
-@ref{note value}.
-
-
-@node whole rest
-@section whole rest
-
-@itemize
-@item UK: semibreve rest
-@item ES: silencio de redonda
-@item I: pausa di semibreve
-@item F: pause
-@item D: ganze Pause, ganztaktige Pause
-@item NL: hele rust
-@item DK: helnodespause
-@item S: helpaus
-@item FI: kokotauko
-@end itemize
-
-@seealso
-@ref{note value}.
-
-
-@node whole tone
-@section whole tone
-
-ES: tono (entero),
-I: tono intero,
-F: ton entier,
-D: Ganzton,
-NL: hele toon,
-DK: heltone,
-S: helton,
-FI: kokoaskel.
-
-The interval of a major second. The interval between two tones
-on the piano keyboard with exactly one key between them -- including
-black and white keys -- is a whole tone.
-
-@seealso
-@ref{interval}.
-
-
-@node woodwind
-@section woodwind
-
-ES: maderas,
-I: legni,
-F: les bois,
-D: Holzbläser,
-NL: houtblazers,
-DK træblæsere,
-S: träblåsare,
-FI: puupuhaltimet.
-
-A family of blown wooden musical instruments. Today some of these
-instruments are actually made from metal. The woodwind instruments
-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
-
-@multitable @columnfractions .12 .22 .22 .22 .22
-
-@headitem Lang. @tab note name
- @tab rest name
- @tab note name
- @tab rest name
-@item @strong{US} @tab long
- @tab long rest
- @tab breve
- @tab breve rest
-@item @strong{UK} @tab longa
- @tab longa rest
- @tab breve
- @tab breve rest
-@item @strong{ES} @tab longa
- @tab silencio de longa
- @tab cuadrada
- @tab silencio de cuadrada
-@item @strong{IT} @tab longa
- @tab pausa di longa
- @tab breve
- @tab pausa di breve
-@item @strong{FR} @tab longa
- @tab quadruple-pause
- @tab brève
- @tab double-pause
-@item @strong{DE} @tab Longa
- @tab longa Pause
- @tab Brevis
- @tab brevis Pause
-@item @strong{NL} @tab longa
- @tab longa rust
- @tab brevis
- @tab brevis rust
-@item @strong{DK} @tab longa
- @tab longanodespause
- @tab brevis
- @tab brevis(nodes)pause
-@item @strong{SE} @tab longa
- @tab longapaus
- @tab brevis
- @tab brevispaus
-@item @strong{FI} @tab longa-nuotti
- @tab longa-tauko
- @tab brevis-nuotti, kaksoiskoko@-nuotti
- @tab brevis-tauko, kaksoiskoko@-tauko
-
-@end multitable
-
-@multitable @columnfractions .12 .22 .22 .22 .22
-
-@headitem Lang. @tab note name
- @tab rest name
- @tab note name
- @tab rest name
-@item @strong{US} @tab whole note
- @tab whole rest
- @tab half note
- @tab half rest
-@item @strong{UK} @tab semibreve
- @tab semibreve rest
- @tab minim
- @tab minim rest
-@item @strong{ES} @tab redonda
- @tab silencio de redonda
- @tab blanca
- @tab silencio de blanca
-@item @strong{IT} @tab semibreve
- @tab pause di semibreve
- @tab minima
- @tab pausa di minima
-@item @strong{FR} @tab ronde
- @tab pause
- @tab blanche
- @tab demi-pause
-@item @strong{DE} @tab ganze Note
- @tab ganze Pause
- @tab halbe Note
- @tab halbe Pause
-@item @strong{NL} @tab hele noot
- @tab hele rust
- @tab halve noot
- @tab halve rust
-@item @strong{DK} @tab helnode
- @tab helnodespause
- @tab halvnode
- @tab halvnodespause
-@item @strong{SE} @tab helnot
- @tab helpaus
- @tab halvnot
- @tab halvpaus
-@item @strong{FI} @tab kokonuotti
- @tab kokotauko
- @tab puolinuotti
- @tab puolitauko
-
-@end multitable
-
-@multitable @columnfractions .12 .22 .22 .22 .22
-
-@headitem Lang. @tab note name
- @tab rest name
- @tab note name
- @tab rest name
-@item @strong{US} @tab quarter note
- @tab quarter rest
- @tab eighth note
- @tab eighth rest
-@item @strong{UK} @tab crotchet
- @tab crotchet rest
- @tab quaver
- @tab quaver rest
-@item @strong{ES} @tab negra
- @tab silencio de negra
- @tab corchea
- @tab silencio de corchea
-@item @strong{IT} @tab semiminima, nera
- @tab pausa di semiminima, pausa di nera
- @tab croma
- @tab pausa di croma
-@item @strong{FR} @tab noire
- @tab soupir*
- @tab croche*
- @tab demi-soupir
-@item @strong{DE} @tab Viertelnote
- @tab Viertelpause
- @tab Achtelnote
- @tab Achtelpause
-@item @strong{NL} @tab kwartnoot
- @tab kwartrust
- @tab achtste noot
- @tab achtste rust
-@item @strong{DK} @tab fjerdedelsnode
- @tab fjerdedelspause
- @tab ottendedelsnode
- @tab ottendedelspause
-@item @strong{SE} @tab fjärdedelsnot
- @tab fjärdedelspaus
- @tab åttondelsnot
- @tab åttondelspaus
-@item @strong{FI} @tab neljäsosa@-nuotti
- @tab neljäsosa@-tauko
- @tab kahdeksasosa@-nuotti
- @tab kahdeksasosa@-tauko
-
-@end multitable
-
-* About the French naming system: @emph{croche} refers to the note's "hook".
-Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
-hook}, @q{trebled hook}, and so on.
-
-The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
-rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
-a @emph{soupir}, and so on.
-
-Each of the following tables contains one type of note and its matching rest,
-with abbreviations that apply to both notes and rests. Just switch the part
-that means @q{note} with the part that means @q{rest}, for example:
-
-@itemize
-
-@item English: 16th @strong{note}, 16th @strong{rest}
-@item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
-@item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
-
-@end itemize
-
-I put a dash @q{-} when I could not find a language-specific abbreviation for a
-duration name. If you know of one that I missed, please send it to me, care of
-the lilypond-user discussion list.
-
-@multitable @columnfractions .10 .35 .35 .20
-
-@headitem Lang. @tab Note name
- @tab Rest name
- @tab Abbr.
-@item @strong{US} @tab sixteenth note
- @tab sixteenth rest
- @tab 16th note
-@item @strong{UK} @tab semiquaver
- @tab semiquaver rest
- @tab -
-@item @strong{ES} @tab semicorchea
- @tab silencio de semicorchea
- @tab -
-@item @strong{IT} @tab semicroma
- @tab pausa di semicroma
- @tab -
-@item @strong{FR} @tab double croche
- @tab quart de soupir
- @tab -
-@item @strong{DE} @tab Sechzehntelnote
- @tab Sechzehntelpause
- @tab 16tel-Note
-@item @strong{NL} @tab zes@-ti@-ende noot
- @tab zes@-ti@-ende rust
- @tab 16e noot
-@item @strong{DK} @tab sekstendedelsnode
- @tab sekstendedelspause
- @tab -
-@item @strong{SE} @tab sextondelsnot
- @tab sextondelspaus
- @tab -
-@item @strong{FI} @tab kuudes@-toistaosa@-nuotti
- @tab kuudes@-toistaosa@-tauko
- @tab 16-osanuotti
-
-@end multitable
-
-@multitable @columnfractions .10 .35 .35 .20
-
-@headitem Lang. @tab Note name
- @tab Rest name
- @tab Abbr.
-@item @strong{US} @tab thirty-second note
- @tab thirty-second rest
- @tab 32nd note
-@item @strong{UK} @tab demisemiquaver
- @tab demisemiquaver rest
- @tab -
-@item @strong{ES} @tab fusa
- @tab silencio de fusa
- @tab -
-@item @strong{IT} @tab biscroma
- @tab pausa di biscroma
- @tab -
-@item @strong{FR} @tab triple croche
- @tab huitième de soupir
- @tab -
-@item @strong{DE} @tab Zweiunddreißig@-stelnote
- @tab Zweiunddreißig@-stelpause
- @tab 32tel-Note
-@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 trettio@-tvåondelsnot
- @tab trettio@-tvåondelspaus
- @tab -
-@item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
- @tab kolmas@-kymmenes@-kahdesosa@-tauko
- @tab 32-osanuotti
-
-@end multitable
-
-@multitable @columnfractions .10 .35 .35 .20
-
-@headitem Lang. @tab Note name
- @tab Rest name
- @tab Abbr.
-@item @strong{US} @tab sixty-fourth note
- @tab sixty-fourth rest
- @tab 64th note
-@item @strong{UK} @tab hemidemisemiquaver
- @tab hemidemisemiquaver rest
- @tab -
-@item @strong{ES} @tab semifusa
- @tab silencio de semifusa
- @tab -
-@item @strong{IT} @tab semibiscroma
- @tab pausa di semibiscroma
- @tab -
-@item @strong{FR} @tab quadruple croche
- @tab seizième de soupir
- @tab -
-@item @strong{DE} @tab Vierundsechzigstelnote
- @tab Vierundsechzigstelpause
- @tab 64tel-Note
-@item @strong{NL} @tab vierenzestigste noot
- @tab vierenzestigste rust
- @tab 64e noot
-@item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
- @tab fireog@-tredsindstyven@-dedelspause
- @tab -
-@item @strong{SE} @tab sextiofjärdedelsnot
- @tab sextiofjärdedelspaus
- @tab -
-@item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
- @tab kuudes@-kymmenes@-neljäsosa@-tauko
- @tab 64-osanuotti
-
-@end multitable
-
-@multitable @columnfractions .10 .35 .35 .20
-
-@headitem Lang. @tab Note name
- @tab Rest name
- @tab Abbr.
-@item @strong{US} @tab one-hundred-twenty-eighth note
- @tab one-hundred-twenty-eighth rest
- @tab 128th note
-@item @strong{UK} @tab semihemidemisemiquaver
- @tab semihemidemisemiquaver rest
- @tab -
-@item @strong{ES} @tab garrapatea
- @tab silencio de garrapatea
- @tab -
-@item @strong{IT} @tab fusa
- @tab pausa di fusa
- @tab -
-@item @strong{FR} @tab quintuple croche
- @tab trente-deuxième de soupir @tab -
-@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 hundrede@-otte@-og@-tyvendedels@-node
- @tab hundrede@-otte@-og@-tyvendedels@-pause
- @tab -
-@item @strong{SE} @tab hundratjugoåttondelsnot
- @tab hundratjugoåttondelspaus
- @tab -
-@item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
- @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
- @tab 128-osanuotti
-
-@end multitable
-
-@multitable @columnfractions .10 .35 .35 .20
-
-@headitem Lang. @tab Note name
- @tab Rest name
- @tab Abbr.
-@item @strong{US} @tab two-hundred-fifty-sixth note
- @tab two-hundred-fifty-sixth rest
- @tab 256th note
-@item @strong{UK} @tab demisemihemidemisemiquaver
- @tab demisemihemidemisemiquaver rest
- @tab -
-@item @strong{ES} @tab semigarrapatea
- @tab silencio de semigarrapatea @tab -
-@item @strong{IT} @tab semifusa
- @tab pausa di semifusa
- @tab -
-@item @strong{FR} @tab sextuple croche
- @tab soixante-quatrième de soupir @tab -
-@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 tohundrede@-seks@-og@-halvtredsendedels@-node
- @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
- @tab -
-@item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
- @tab tvåhundra@-femtiosjättedelspaus
- @tab -
-@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}
-
-
-@node Pitch names
-@chapter Pitch names
-
-@c -is/-es endings for Danish per Rune Zedeler, pace
-@c and for Finnish per Risto Vääräniemi
-@c -iss/-ess endings for Swedish per Mats Bengtsson
-@c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
-
-@multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
-@headitem EN
- @tab ES @tab I @tab F @tab D
- @tab NL @tab DK @tab S @tab FI
-@item @strong{c} @tab do @tab do @tab ut @tab C
- @tab c @tab c @tab c @tab c
-@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
- @tab cis @tab cis @tab ciss @tab cis
-@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
- @tab des @tab des @tab dess @tab des
-@item @strong{d} @tab re @tab re @tab ré @tab D
- @tab d @tab d @tab d @tab d
-@item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
- @tab dis @tab dis @tab diss @tab dis
-@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
- @tab es @tab es @tab ess @tab es
-@item @strong{e} @tab mi @tab mi @tab mi @tab E
- @tab e @tab e @tab e @tab e
-@item @strong{f-flat} = e
- @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
- @tab fes @tab fes @tab fess @tab fes
-@item @strong{f} @tab fa @tab fa @tab fa @tab F
- @tab f @tab f @tab f @tab f
-@item @strong{e-sharp} = f
- @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
- @tab eis @tab eis @tab eiss @tab eis
-@item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
- @tab fis @tab fis @tab fiss @tab fis
-@item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
- @tab ges @tab ges @tab gess @tab ges
-@item @strong{g} @tab sol @tab sol @tab sol @tab G
- @tab g @tab g @tab g @tab g
-@item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
- @tab gis @tab gis @tab giss @tab gis
-@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
- @tab as @tab as @tab ass @tab as
-@item @strong{a} @tab la @tab la @tab la @tab A
- @tab a @tab a @tab a @tab a
-@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
- @tab ais @tab ais @tab aiss @tab ais
-@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
- @tab bes @tab b @tab b @tab b
-@item @strong{b} @tab si @tab si @tab si @tab H
- @tab b @tab h @tab h @tab h
-@end multitable
-
-
-@menu
-* Literature used::
-@end menu
-
-@node Literature used
-@unnumberedsec Literature used
-
-@itemize
-@item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
-Cambridge: Belknap Press (Harvard University Press), 1944.
-
-@item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
-WSOY, 1976.
-
-@item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
-Terminologie}. Kassel, 1980.
-
-@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