@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, 2007-2008
+@c Updates to the German translation by Till Rettig, 12/07
Copyright @copyright{} 1999--2007 by the authors
@end macro
@menu
-* Musical terms A-Z::
-* Duration names notes and rests::
-* Pitch names::
+* Musical terms A-Z::
+* Duration names notes and rests::
+* Pitch names::
@end menu
-@contents
-
-
@node Musical terms A-Z
@chapter Musical terms A-Z
@end itemize
@menu
-* A::
-* a due::
-* accelerando::
-* accent::
-* accessory::
-* acciaccatura::
-* accidental::
-* adagio::
-* allegro::
-* alteration::
-* alto::
-* alto clef::
-* ambitus::
-* anacrusis::
-* ancient minor scale::
-* andante::
-* appoggiatura::
-* arpeggio::
-* articulation::
-* ascending interval::
-* augmented interval::
-* augmentation::
-* 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::
-* 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::
-* D::
-* da capo::
-* 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::
-* meantone temperament::
-* measure::
-* measure repeat::
-* mediant::
-* melisma::
-* melisma line::
-* melodic cadence::
-* mensural notation::
-* meter::
-* metronome::
-* metronome mark::
-* metronomic indication::
-* mezzo-soprano::
-* middle C::
-* minor::
-* minor interval::
-* mixolydian mode::
-* mode::
-* modulation::
-* mordent::
-* motif::
-* motive::
-* movement::
-* multi-measure rest::
-* natural::
-* neighbour 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::
-* 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::
+* A::
+* a due::
+* accelerando::
+* accent::
+* accessory::
+* acciaccatura::
+* accidental::
+* adagio::
+* al niente::
+* 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::
+* 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::
+* 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::
+* meantone temperament::
+* measure::
+* measure repeat::
+* mediant::
+* melisma::
+* melisma line::
+* melodic cadence::
+* mensural notation::
+* 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::
+* neighbour 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::
+* 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
ES: a dos,
I: a due,
F: à deux,
-D: a due, zu zweit
+D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
-Abbreviated @samp{a2} or @samp{a 2}.
+Abbreviated @notation{a2} or @notation{a 2}.
@enumerate
S: accelerando,
FI: accelerando, kiihdyttäen.
-Increase tempo.
+[Italian: @q{speed up, accelerate}.]
+
+Increase tempo
@node accent
S: adagio,
FI: adagio, hitaasti.
-It.@: comfortable, easy.
+[Italian: @q{comfortable, easy}.]
@itemize
@end itemize
+@node al niente
+@section al niente
+
+ES: ?,
+I: al niente,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[Italian: @q{to nothing}.] Used with @notation{decrescendo} to indicate
+that the sound should fade away to nothing.
+
+@notation{Al niente} is indicated by circling the tip of the hairpin:
+
+@lilypond[fragment,ragged-right]
+\relative c'' {
+ \override Hairpin #'circled-tip = ##t
+ c1\<
+ c2\> c\<
+ c1\!
+}
+@end lilypond
+
+or with the actual phrase @notation{al niente}. This may be easier with
+text markup, rather than as part of the @notation{decrescendo} text:
+
+@lilypond[fragment,ragged-right]
+\relative c'' {
+ \dimTextDecresc
+ c1~\>
+ c~
+ c\!-\markup { \italic "al niente" }
+}
+@end lilypond
+
+Since one does not crescendo @emph{to} nothing, it is not correct to use
+@notation{al niente} with the word @notation{crescendo}. Instead, one
+should use @emph{dal niente} (@notation{@b{from} nothing}).
+
+@seealso
+
+@ref{crescendo}, @ref{decrescendo}, @ref{hairpin}.
+
+
@node allegro
@section allegro
S: allegro,
FI: allegro, nopeasti.
-It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
+[Italian: cheerful.] Quick tempo. Also used as a title for pieces in a quick
tempo, especially the first and last movements of a @ref{sonata}.
NL: verhoging of verlaging,
DK: ?,
S: ?,
-FI: kromaattinen merkki, muunnemerkki.
+FI: ?.
An alteration is the modification, raising or lowering, of a note's
pitch. It is established by an @ref{accidental}.
S: ren mollskala,
FI: luonnollinen molliasteikko.
+Also called @q{natural minor scale}.
+
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\relative c'' {
ES: ?,
I: ?,
F: ?,
-D: Augmentation,
+D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: augmentaatio, harvennus.
+FI: ?.
@c TODO: add definition.
@seealso
-@ref{Pitch names}
+@ref{H}, @ref{Pitch names}
@node backfall
ES: corchete,
I: ?,
F: ?,
-D: Klammer,
+D: ?,
NL: ?,
DK: ?,
S: ?,
ES: compasillo,
I: ?,
F: ?,
-D: Vier-Viertel-Takt,
+D: ?,
NL: ?,
DK: ?,
S: ?,
ES: compás compuesto, compás de subdivisión ternaria,
I: ?,
F: ?,
-D: Dreiertakt,
+D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: kolmijakoinen rytmi.
+FI: ?.
A meter that includes a triplet subdivision within the beat, such as
6/8, 9/8, 12/8.
ES: compás compuesto, compás de amalgama (def. 2),
I: ?,
F: ?,
-D: Dreiertakt, Wechseltakt,
+D: ?,
NL: ?,
DK: ?,
S: ?,
ES: en Do, afinación de concierto,
I: ?,
F: ?,
-D: Kammerton,
+D: ?,
NL: ?,
DK: ?,
S: ?,
FI: cresendo, voimistuen.
Increasing volume. Indicated by a rightwards opening horizontal wedge
-(hairpin) or the abbreviation @samp{cresc.}.
+(hairpin) or the abbreviation @notation{cresc.}.
@lilypond[fragment,ragged-right]
\key g \major \time 4/4
S: da capo,
FI: da capo, alusta.
-Abbreviated @samp{D.C.}. Indicates that the piece is to be repeated from
+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}.
+@node dal niente
+@section dal niente
+
+ES: ?,
+I: dal niente,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[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
S: dal segno,
FI: dal segno, lähtien merkistä.
-Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
-another place frequently near the beginning marked by a sign:
+Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
+another place frequently near the beginning marked by a sign
+(@notation{segno}):
@lilypond[fragment,ragged-right]
%\override TextScript #'font-style = #'large
FI: decresendo, hiljentyen.
Decreasing tone volume. Indicated by a leftwards opening horizontal
-wedge (hairpin) or the abbreviation @samp{decresc.}.
+wedge (hairpin) or the abbreviation @notation{decresc.}.
@lilypond[fragment,ragged-right]
\relative c'' {
ES: ?,
I: ?,
F: ?,
-D: Diminution, Verkleinerung,
+D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: diminuutio, tihennys.
+FI: ?.
@c TODO: add definition
ES: ?,
I: ?,
F: ?,
-D: Divisio,
+D: ?,
NL: ?,
DK: ?,
S: ?,
ES: ?,
I: ?,
F: ?,
-D: Doppeltakt, Wechseltakt,
+D: ?,
NL: ?,
DK: ?,
S: ?,
NL: ?,
DK: ?,
S: ?,
-FI: dynamiikka, voimakkuusvaihtelut.
+FI: ?.
The aspect of music relating to degrees of loudness, or changes from
one degree to another. The terms, abbreviations, and symbols used to
ES: sinalefa,
I: ?,
F: ?,
-D: Elision, Auslassung,
+D: ?,
NL: ?,
DK: ?,
S: ?,
@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 @samp{sul G}, another series to be
-played on the D string would be indicated @samp{sul D}, and so on.
+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
ES: ?,
I: ?,
F: ?,
-D: Flageolett,
+D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: flageoletti.
+FI: ?.
An articulation for string players that means the note or passage is to
be played in harmonics.
S: forte,
FI: forte, voimakkaasti.
-Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
-@emph{mezzo forte} (@samp{@b{mf}}) medium loud.
+[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
@node fourth
@section fourth
ES: partitura a la francesa,
I: ?,
F: ?,
-D: Partitur (ohne leere Takte),
+D: ?,
NL: ?,
DK: ?,
S: ?,
ES: pentagrama a la francesa,
I: ?,
F: ?,
-D: Notensystem (ohne leere Takte),
+D: ?,
NL: ?,
DK: ?,
S: ?,
ES: pentagramas a la francesa,
I: ?,
F: ?,
-D: Notensysteme (ohne leere Takte),
+D: ?,
NL: ?,
DK: ?,
S: ?,
@item FI: H, h
@end itemize
-Letter name used for @samp{B natural} in German and Scandinavian
-usage. In the standard usage of these countries, @samp{B} means
-@samp{B flat}.
+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
Graphical version of the @notation{crescendo} and @notation{decrescendo}
dynamic marks.
+@lilypond[fragment,ragged-right]
+\relative c'' {
+ c1\<
+ c2\> c\<
+ c1\!
+}
+@end lilypond
+
@seealso
@ref{crescendo}, @ref{decrescendo}.
NL: ?,
DK: ?,
S: ?,
-FI: yläsävelsarjan flageoletti-ääni.
+FI: ?.
The general class of pitches produced by sounding the second or higher
harmonic of a tone producer: string, column of air, and so on.
ES: hemiolia,
I: ?,
F: ?,
-D: Hemiole,
+D: ?,
NL: ?,
DK: ?,
-S: hemiol,
+S: ?,
FI: ?.
[From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
ES: ?,
I: ?,
F: inversion,
-D: Umkehrung (Akkord),
+D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: (kolmisoinnun) käännös.
+FI: ?.
When the bass is not the same as the root, the chord is inverted. The number
of inversions that a chord can have is one fewer than the number of
constituent notes. Triads, for example, (having three constituent notes) can
have three positions, two of which are inversions:
-@table @strong
+@table @code
@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}.
ES: dejar vibrar,
I: ?,
F: laissez vibrer,
-D: Laissez vibrer, klingen lassen,
+D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
[From French, @q{Let vibrate}]. Most frequently associated with harp
-parts. Marked @samp{l.v.} in the score.
+parts. Marked @notation{l.v.} in the score.
@node largo
ES: en su lugar,
I: loco,
F: ?,
-D: loco,
+D: ?,
NL: ?,
DK: ?,
S: ?,
ES: ligadura de letra,
I: ?,
F: ?,
-D: Bindestrich,
+D: Textbindung,
NL: ?,
DK: ?,
S: ?,
FI: ?.
+@c TODO: add languages
@seealso
@node melisma line
@section melisma line
+@c TODO: add languages
+
ES: línea de melisma,
I: ?,
F: ?,
-D: Melismastrich,
+D: ?,
NL: ?,
DK: ?,
S: ?,
@node mensural notation
@section mensural notation
+@c TODO: add languages
+
ES: notación mensural,
I: ?,
F: ?,
-D: Mensuralnotation,
+D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: mensuraalinuottikirjoitus.
+FI: ?.
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
S: metronomangivelse,
FI: metronomiosoitus.
-Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or
-@samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
+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 mark}
+@node mezzo
+@section mezzo
+
+ES: ?,
+I: mezzo,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[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
+
+
@node mezzo-soprano
@section mezzo-soprano
S: mezzosopran,
FI: mezzosopraano.
-The female voice between @ref{soprano} and @ref{contralto}.
+The female voice between soprano and contralto.
+
+@seealso
+
+@ref{soprano}, @ref{contralto}.
@node middle C
S: oktav,
FI: oktaavi.
-The interval of an octave, sometimes abbreviated @samp{8ve}.
+The interval of an octave, sometimes abbreviated @notation{8ve}.
-For uses like @emph{all'ottava} or @emph{8va} with an extender line or
-bracket, or @samp{loco} see octave marking.
+For uses like @notation{all'ottava} or @notation{8va} with an extender line or
+bracket, or @notation{loco} see octave marking.
@seealso
ES: indicación de octava,
I: ?,
F: ?,
-D: Oktavierungszeichen,
+D: ?,
NL: ?,
DK: ?,
S: ?,
@itemize
-@item @samp{15ma}: play two octaves higher
-@item @samp{8va}: play one octave higher
-@item @samp{8vb}: play one octave lower
-@item @samp{8va} (written below the passage): same as @samp{8vb}
-@item @samp{15vb}: play two octaves lower
-@item @samp{15va} (written below the passage): same as @samp{15vb}
+@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 @emph{loco} (q.v.).
+change is cancelled with the word @notation{loco} (q.v.).
To parallel the list above:
@itemize
-@item @samp{15ma}: @emph{alla quindicesima (alta)}
-@item @samp{8va}: @emph{all'ottava} or @emph{ottava sopra}
-@item @samp{8vb}: @emph{ottava bassa}, @emph{ottava sotto}
-@item @samp{15vb}: @emph{alla quindicesima (bassa)}
+@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, @emph{quindicesima} is sometimes replaced with
-@emph{quindecima}, which is Latin.
+In the phrases above, @notation{quindicesima} is sometimes replaced with
+@notation{quindecima}, which is Latin.
-Finally, the music on an entire staff can be marked to be played in a different
-octave by putting an 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.
+Finally, the music on an entire staff can be marked to be played in a
+different octave by putting a small 8 or 15 above or below the clef at the
+beginning. This octave mark can be applied to any clef, but it is most
+frequently used with the G and F clefs.
@seealso
ES: compás polimétrico,
I: ?,
F: ?,
-D: Polymetrik,
+D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: polymetriikka.
+FI: ?.
@itemize
ES: polimétrico,
I: ?,
F: ?,
-D: polymetrisch,
+D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: polymetrinen.
+FI: ?.
Using two or more metric frameworks simultaneously or in alternation.
ES: compás polimétrico,
I: ?,
F: ?,
-D: polymetrische Taktart,
+D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: polymetrinen tahtiosoitus.
+FI: ?.
A time signature that indicates regularly alternating polymetric time.
ES: proporción,
I: proprozione (?),
F: proportion,
-D: Proportion, proportio,
+D: ?,
NL: ?,
DK: ?,
S: ?,
NL: kwart toon,
DK: ?,
S: kvartston,
-FI: neljännes sävelaskel.
+FI: ?.
An interval equal to half a semitone.
ES: simile,
I: simile,
F: ?,
-D: simile, gleichartig,
+D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: samaan tapaan.
+FI: ?.
[From It, @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,
ES: compás simple, compás de subdivisión binaria,
I: ?,
F: ?,
-D: Zweiertakt,
+D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: tasajakoinen rytmi.
+FI: ?.
A meter in which the basic beat is subdivided in two: that is, a meter
that does not include triplet subdivision of the beat.
ES: ?,
I: stringendo,
F: ?,
-D: Stringendo, steigernd,
+D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: stringendo, kiihtyen.
+FI: ?.
[It, @q{pressing}]. Pressing, urging, or hastening the time, as to a
climax.
@item ES: fusa
@item I: biscroma
@item F: triple croche
-@item D: Zweiunddreißigstel, Zweiunddreißigstelnote
+@item D: Zweiunddreissigstel, Zweiunddreissigstelnote
@item NL: twee-endertig@-ste (32e) noot
@item DK: toogtredivtedelsnode
@item S: trettiotvåondelsnot
ES: instrumento transpositor,
I: ?,
F: ?,
-D: transponierende Instrumente,
+D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: transponoivat soitimet.
+FI: ?.
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
ES: vez, primera y segunda vez,
I: volta,
F: ?,
-D: Volta, Wiederholungsklammer,
+D: ?,
NL: ?,
DK: ?,
S: ?,
@node Pitch names
@chapter Pitch names
-@c -is/-es endings for Danish per Rune Zedeler
-@c and for Finnish per Risto Vääräniemi
+@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 {c-sharp} {do sostenido} {do diesis} {ut dièse} {Cis} {cis} {cis} {ciss} {cis}
+@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
@menu
-* Literature used::
+* Literature used::
@end menu
@node Literature used
@unnumberedsec Literature used
@itemize
-@item The Harvard Dictionary of Music, London 1944. Many more or less
-literal quotes from its articles have been included into the item
-explanation texts.
+@item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
+Cambridge: Belknap Press (Harvard University Press), 1944.
-@item Hugo Riemanns Musiklexicon, Berlin 1929.
+@item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
+WSOY, 1976.
-@item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
-1980.
+@item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
+Terminologie}. Kassel, 1980.
-@item Oxford Advanced Learner's Dictionary of Current English, Third
-Edition 1974.
+@item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
+Cambridge: Belknap Press (Harvard University Press), 1986.
-@item Webster's Revised Unabridged Dictionary, Springfield 1913.
+@item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.
-@item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.
+@item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
+Current English}, 3rd ed. London: Oxford University Press, 1974.
-@item Henna Mikkonen, Suvi Rimpiläinen, Konsertissa kävijän taskusanasto, Jyväskylä, 2003
+@item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
+Springfield, Massachusetts: G. & C. Merriam Company, 1913.
@end itemize
projects / lilypond.git / commitdiff