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.
+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}.
@section accidental
ES: alteración accidental,
-I: accidento,
+I: alterazione, accidente,
F: altération accidentelle,
D: Versetzungszeichen, Akzidenz,
NL: toevallig (verplaatsings)teken,
@section articulation
ES: articulación,
-I: articulazione,
+I: articolazione,
F: articulation,
D: Artikulation,
NL: articulatie,
@section bracket
ES: corchete,
-I: ?,
+I: parentesi quadra,
F: crochet,
D: ?,
NL: ?,
}
@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:
+Staves of five lines are usually used, and the clef superimposed on them
+indicates which five lines have been selected from this @notation{grand
+staff}. For example, the treble or G clef indicates that the top five lines
+have been selected:
@lilypond[quote]
\score {
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.
+In the same way, the bass or F clef indicates that the bottom five lines
+have been selected from the @notation{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 {
@section cluster
ES: racimo,
-I: ?,
+I: cluster,
F: cluster,
D: Cluster,
NL: ?,
@section common time
ES: compasillo,
-I: ?,
+I: tempo semplice,
F: mesure à 4/4,
D: ?,
NL: ?,
@section compound meter
ES: compás compuesto, compás de subdivisión ternaria,
-I: ?,
+I: tempo composto,
F: mesure composée,
D: ?,
NL: ?,
@section concert pitch
ES: en Do, afinación de concierto,
-I: ?,
+I: intonazione reale,
F: tonalité de concert, en ut,
D: ?,
NL: ?,
@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
+@multitable {bassoon} {violoncello}
+@headitem Woodwinds @tab Strings
@item
@itemize
@tab
-@itemize
-@item alto trombone
-@item tenor trombone
-@item bass trombone
-@end itemize
-
-@tab
-
@itemize
@item violin
@item viola
@end multitable
+@ignore This needs to be reworked.
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.
+@end ignore
Instruments that play @q{in C} but in a different octave than what is written
are, technically speaking, @emph{transposing instruments}:
@section custos
ES: custos,
-I: ?,
+I: custos, guida,
F: guidon,
D: Notenzeiger, Custos,
NL: ?,
@section diminution
ES: ?,
-I: ?,
+I: diminuzione,
F: diminution,
D: ?,
NL: ?,
@section dynamics
ES: dinámica, matices,
-I: ?,
+I: dinamica,
F: nuances,
D: Dynamik, Lautstärke,
NL: ?,
@c TODO: add languages
ES: sinalefa,
-I: ?,
+I: elisione,
F: élision,
D: ?,
NL: ?,
@section extender line
ES: línea de extensión [de melisma, de bajo cifrado, etc.],
-I: ?,
+I: linea di estensione,
F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
D: Fülllinie,
NL: ?,
@section grand staff
ES: sistema de piano,
-I: accolatura,
+I: accollatura,
F: système [de portées], accolade,
D: Akkolade, Klaviersystem,
NL: piano systeem,
@section harmonics
ES: sonidos del flautín,
-I: suoni flautati,
+I: armonici,
F: flageolet, sons harmoniques,
D: Flageolett-Töne,
NL: ?,
@section hemiola
ES: hemiolia,
-I: ?,
+I: emiolia, (rarely hemiola or emiola),
F: hémiole,
D: ?,
NL: ?,
@section inversion
ES: ?,
-I: ?,
+I: rivolto,
F: renversement,
D: ?,
NL: ?,
@section laissez vibrer
ES: dejar vibrar,
-I: ?,
+I: laissez vibrer,
F: laissez vibrer,
D: ?,
NL: ?,
@section lyrics
ES: letra (de la canción),
-I: ?,
+I: testo,
F: paroles,
D: Liedtext, Gesangtext,
NL: liedtekst,
@section maxima
ES: ?,
-I: ?,
+I: maxima,
F: maxima, maxime,
D: ?,
NL: ?,
@section melisma
ES: melisma,
-I: ?,
+I: melisma,
F: mélisme, tenue,
D: Melisma,
NL: melisma,
@c TODO: add languages
ES: línea de melisma,
-I: ?,
+I: linea del melisma,
F: trait de mélisme, trait de tenue,
D: ?,
NL: ?,
@c TODO: add languages
ES: notación mensural,
-I: ?,
+I: notazione mensurale,
F: notation mensurale,
D: ?,
NL: ?,
@section octave mark
ES: indicación de octava,
-I: ?,
+I: segno di ottava,
F: indication d'octave,
D: ?,
NL: ?,
@section polymeter
ES: compás polimétrico,
-I: ?,
+I: polimetria,
F: polymétrie,
D: ?,
NL: ?,
@section polymetric
ES: polimétrico,
-I: ?,
+I: polimetrico,
F: polymétrique,
D: ?,
NL: ?,
@section polymetric time signature
ES: compás polimétrico,
-I: ?,
+I: tempo polimetrico,
F: ?,
D: ?,
NL: ?,
@section proportion
ES: proporción,
-I: proprozione (?),
+I: proporzione,
F: proportion,
D: ?,
NL: ?,
@section quarter tone
ES: cuarto de tonno,
-I: ?,
+I: quarto di tono,
F: quart de ton,
D: Viertelton,
NL: kwart toon,
@section repeat
ES: repetición,
-I: ritornello,
+I: ripetizione,
F: barre de reprise,
D: Wiederholung,
NL: herhaling,
@seealso
@ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
+
@node ritardando
@section ritardando
S: ritardando,
FI: ritardando, hidastuen,
-Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
+Gradually slackening in speed. Mostly abbreviated to @notation{rit.} or
+@notation{ritard}.
@seealso
No cross-references.
@section second
ES: segunda,
-I: secunda,
+I: seconda,
F: seconde,
D: Sekunde,
NL: secunde,
@section slur
ES: ligadura (de expresión),
-I: legatura (di portamento or espressiva),
+I: legatura (di portamento o espressiva),
F: liaison, coulé,
D: Bogen (Legatobogen, Phrasierungsbogen),
NL: fraseringsboog, legatoboog, streekboog,
@section submediant
ES: submediante,
-I: sopratonica,
+I: sopradominante,
F: sous-médiante,
D: Submediante,
NL: submediant,
@section sul G
ES: sobre la cuerda de Sol,
-I: sul g,
+I: sul Sol,
F: sur la G,
D: auf G, auf der G-Saite,
NL: ?,
S: superdominant,
FI: ylidominantti.
-The sixth @ref{scale degree}.
+The sixth @ref{scale degree}. Equivalent to the submediant, q.v.
@seealso
@ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
@section system
ES: sistema,
-I: accollatura,
+I: sistema,
F: système,
D: Notensystem, Partitur,
NL: systeem,
@section transposing instrument
ES: instrumento transpositor,
-I: ?,
+I: strumento traspositore,
F: instrument transpositeur,
D: ?,
NL: ?,
Not all transposing instruments include the pitch class in their name:
@itemize
-
+@item Alto flute (in G)
@item English horn (in F)
+@item Saxophones (in B-flat or E-flat)
+@end itemize
-@item Alto flute (in G)
+@ignore Can we do better?
-@end itemize
+To make matters more complex, some instruments are transposing instruments,
+but their players play from parts written at concert pitch. This is the
+case for orchestral trombone and tuba players—whereas trombone players in
+brass bands treat their parts as if written for a true transposing
+instrument in B-flat.
+
+@end ignore
@seealso
@ref{concert pitch}.
@node tuplet
@section tuplet
+ES: ?,
+I: gruppi irregolari,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
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.
@end multitable
* About the French naming system: @notation{croche} refers to the note's
-@q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
+@q{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 @notation{soupir}, or quarter rest.