@c `Music Glossary' was born 1999-10-04 with git commit 280a0bb...
@macro copyrightDeclare
-Copyright @copyright{} 1999--2009 by the authors
+Copyright @copyright{} 1999--2010 by the authors
@end macro
@set FDL
[Italian: @q{speed up, accelerate}]
-Increase tempo
+An increase in the tempo, abbreviated @notation{accel.}
@seealso
No cross-references.
ES: mordente de una nota,
I: acciaccatura,
F: acciaccatura, appoggiature brève,
-D: ?,
-NL: ?,
+D: Zusammenschlag,
+NL: samenslag,
DK: ?,
S: ?,
FI: ?.
ES: alla breve,
I: ?,
F: alla breve, à la brève,
-D: ?,
+D: Allabreve, alla breve
NL: ?,
DK: ?,
S: ?,
[Italian: @q{on the breve}] Twice as fast as the notation indicates.
-Also called @notation{in cut-time}. The name derives from mensural
+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
FI: kohotahti.
An anacrusis (also known as pickup or upbeat) is an incomplete measure
-of music before a section of music. It also refers to the initial
+of music before a section of music. It also refers to the initial
note(s) of a melody occurring in that incomplete measure.
@lilypond[quote,relative=1]
I: appoggiatura,
F: appoggiature, (port de voix),
D: Vorschlag, Vorhalt
-NL: voorslag,
+NL: (korte) voorslag,
DK: forslag,
S: förslag,
FI: appoggiatura, etuhele.
@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.
+emulate engraving. This required more skill than did engraving.
@end itemize
S: balk,
FI: palkki.
-Line connecting a series of notes (shorter than a quarter note). The
+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]
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.
+orchestra are trumpet, trombone, French horn, and tuba. In marching bands,
+sousaphones and contrabass bugles are common.
@seealso
No cross-references.
FI: sointu.
Three or more tones sounding simultaneously. In traditional European music
-the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
+the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
(major + minor third) as well as @emph{minor} (minor + major third) chords
-may be extended with more thirds. Four-tone @emph{seventh chords} and
+may be extended with more thirds. Four-tone @emph{seventh chords} and
five-tone @emph{ninth} major chords are most often used as dominants
(functional harmony). Chords having no third above the lower notes to
define their mood are a special case called @q{open chords}. The lack of
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
+staff}. For example, the treble or G clef indicates that the top five lines
have been selected:
@lilypond[quote]
FI: cresendo, voimistuen.
Increasing volume. Indicated by a rightwards opening horizontal wedge
-(hairpin) or the abbreviation @notation{cresc.}.
+(hairpin) or the abbreviation @notation{cresc.}
@lilypond[quote,relative=2]
\key g \major
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,
+There were different appearances 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
S: da capo,
FI: da capo, alusta.
-Abbreviated @notation{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}.
@seealso
S: dal segno,
FI: dal segno, lähtien merkistä.
-Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
+Abbreviated @notation{D.S.} Repetition, not from the beginning, but from
another place frequently near the beginning marked by a sign
(@notation{segno}):
FI: decresendo, hiljentyen.
Decreasing tone volume. Indicated by a leftwards opening horizontal
-wedge (hairpin) or the abbreviation @notation{decresc.}.
+wedge (hairpin) or the abbreviation @notation{decresc.}
@lilypond[quote,relative=2]
\key g \major
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
+A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
+played on the white keys of a piano keyboard 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
S: diminuendo,
FI: diminuendo, hiljentyen.
+Abbreviated @emph{dim.} It indicates a decrease in tone volume.
+
@seealso
@ref{decrescendo}.
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, 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
+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
+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
+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
+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
+marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
unstable chord position.
@end table
FI: antaa väristä.
[French: @q{Let vibrate}] Most frequently associated with harp
-parts. Marked @notation{l.v.} in the score.
+parts. Marked @notation{l.v.} in the score.
@seealso
No cross-references.
FI: largo, hitaasti, leveästi.
[Italian: @q{wide}.] Very slow in tempo, usually combined with great
-expressiveness. @emph{Larghetto} is less slow than largo.
+expressiveness. @emph{Larghetto} is less slow than largo.
@node leading note
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).
+for @notation{cut time} (essentially, it has not lost its original meaning).
@seealso
@ref{diminution}, @ref{proportion}, @ref{time signature}.
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
+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]
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}.
+@notation{alla breve} or @notation{cut time}.
@c TODO -- add maxima to this example, in a way that doesn't break it.
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,
+tambourine, cymbals, Chinese gong (tam-tam), triangle, celesta, glockenspiel,
and xylophone.
@seealso
[Italian: past participle of @emph{portare}, @q{to carry}]
A stroke in which each of several notes is separated slightly within a slur,
-without changing the bow's direction. It is used for passages of a
+without changing the bow's direction. It is used for passages of a
@notation{cantabile} character.
@seealso
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:
+the chord. These are described below:
@multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
@headitem Chord name
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
+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
+and D^m7 are all identical). The last three chords are not commonly used
except in jazz.
@seealso
S: rallentando,
FI: rallerdando, hidastuen.
-[Italian] A performance indication, abbreviated @notation{rall.}.
+[Italian] A performance indication, abbreviated @notation{rall.}
@seealso
@ref{ritardando}.
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,
+accompaniment, which consists of three or four independent pieces,
called movements.
@seealso
I: gruppi irregolari,
F: ?,
D: ?,
-NL: ?,
+NL: Antimetrische figuur,
DK: ?,
S: ?,
FI: ?.
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