Merge branch 'lilypond/translation' of ssh://git.sv.gnu.org/srv/git/lilypond into...

[lilypond.git] / Documentation / music-glossary.tely

diff --git a/Documentation/music-glossary.tely b/Documentation/music-glossary.tely
index ef649b2996249a125455f63b52971884989db4c5..b392e66ee8b287cf965dbc3548b91186be717d1f 100644 (file)
--- a/Documentation/music-glossary.tely
+++ b/Documentation/music-glossary.tely
@@ -818,7 +818,7 @@ S: upptakt,
 FI: kohotahti.
 
 An anacrusis (also known as pickup or upbeat) is an incomplete measure
 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]
 note(s) of a melody occurring in that incomplete measure.
 
 @lilypond[quote,relative=1]


@@ -1027,22 +1027,6 @@ A distance between a starting lower note and a higher ending note.
 No cross-references.
 
 
 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
 
 @node augmentation
 @section augmentation
 


@@ -1063,6 +1047,22 @@ This is a placeholder for augmentation (wrt mensural notation).
 @ref{diminution}, @ref{mensural notation}.
 
 
 @ref{diminution}, @ref{mensural notation}.
 
 

+@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 autograph
 @section autograph
 
 @node autograph
 @section autograph
 


@@ -1081,7 +1081,7 @@ FI: käsinkirjoitettu nuotti.
 
 @item Music prepared for photoreproduction by freehand drawing, with
 the aid of a straightedge ruler and T-square only, which attempts to
 
 @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
 
 
 @end itemize
 


@@ -1235,7 +1235,7 @@ DK: bjælke,
 S: balk,
 FI: palkki.
 
 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]
 number of beams determines the note value of the connected notes.
 
 @lilypond[quote,notime,relative=2,line-width=13\cm]


@@ -1602,9 +1602,9 @@ S: ackord,
 FI: sointu.
 
 Three or more tones sounding simultaneously.  In traditional European music
 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
 (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
 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


@@ -1792,7 +1792,7 @@ the top line high F:
 
 Staves of five lines are usually used, and the clef superimposed on them
 indicates which five lines have been selected from this @notation{grand
 
 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]
 have been selected:
 
 @lilypond[quote]


@@ -2048,7 +2048,7 @@ Intervals larger than an octave.
 ES: compás compuesto, compás de subdivisión ternaria,
 I: tempo composto,
 F: mesure composée,
 ES: compás compuesto, compás de subdivisión ternaria,
 I: tempo composto,
 F: mesure composée,

-D: ?,
+D: Dreiertakt,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -2067,7 +2067,7 @@ A meter that includes a triplet subdivision within the beat, such as
 ES: compás compuesto, compás de amalgama (def. 2),
 I: ?,
 F: temps composé,
 ES: compás compuesto, compás de amalgama (def. 2),
 I: ?,
 F: temps composé,

-D: ?,
+D: zusammengesetzte Taktart,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -2119,7 +2119,7 @@ A time signature that additively combines two or more unequal meters, e.g.,
 ES: en Do, tono de concierto,
 I: intonazione reale,
 F: tonalité de concert, en ut,
 ES: en Do, tono de concierto,
 I: intonazione reale,
 F: tonalité de concert, en ut,

-D: ?,
+D: Kammerton,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -2462,7 +2462,7 @@ No cross-references.
 ES: dal niente, de la nada,
 I: dal niente,
 F: partant de rien,
 ES: dal niente, de la nada,
 I: dal niente,
 F: partant de rien,

-D: ?,
+D: aus dem Nichts, dal niente,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -2562,7 +2562,7 @@ DK: diatonisk skala,
 S: diatonisk skala,
 FI: diatoninen asteikko.
 
 S: diatonisk skala,
 FI: diatoninen asteikko.
 

-A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
+A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S).  Scales

 played on the white keys of a piano keyboard are diatonic.  These scales
 are sometimes called, somewhat inaccurately, @q{church modes}).
 
 played on the white keys of a piano keyboard are diatonic.  These scales
 are sometimes called, somewhat inaccurately, @q{church modes}).
 


@@ -2767,7 +2767,7 @@ Abbreviated @emph{dim.} It indicates a decrease in tone volume.
 ES: disminución,
 I: diminuzione,
 F: diminution,
 ES: disminución,
 I: diminuzione,
 F: diminution,

-D: ?,
+D: Diminution,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -2854,7 +2854,7 @@ FI: dissonanssi, dissonoiva intervalli, riitasointi.
 ES: división,
 I: ?,
 F: ?,
 ES: división,
 I: ?,
 F: ?,

-D: ?,
+D: Divisio,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -2889,7 +2889,7 @@ No cross-references.
 ES: elevación [de tono],
 I: ?,
 F: saut,
 ES: elevación [de tono],
 I: ?,
 F: saut,

-D: ?,
+D: Glissando zu unbestimmter Tonhöhe,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -3088,7 +3088,7 @@ FI: kaksoisylennysmerkki.
 ES: compás polimétrico,
 I: ?,
 F: ?,
 ES: compás polimétrico,
 I: ?,
 F: ?,

-D: ?,
+D: zusammengesetzte Taktart,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -3256,7 +3256,7 @@ indicate this information are called dynamic marks.
 ES: sinalefa,
 I: elisione,
 F: élision,
 ES: sinalefa,
 I: elisione,
 F: élision,

-D: ?,
+D: Elision,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -3508,7 +3508,7 @@ Double Bass).
 ES: caída [de tono],
 I: ?,
 F: chute,
 ES: caída [de tono],
 I: ?,
 F: chute,

-D: ?,
+D: Glissando zu unbestimmter Tonhöhe nach unten,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -3691,7 +3691,7 @@ g64-"64th" s8
 ES: armónico,
 I: ?,
 F: flageolet,
 ES: armónico,
 I: ?,
 F: flageolet,

-D: ?,
+D: Flageolett,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -3784,11 +3784,11 @@ FI: kvartti.
 ES: partitura a la francesa,
 I: ?,
 F: ?,
 ES: partitura a la francesa,
 I: ?,
 F: ?,

-D: ?,
+D: Orchesterpartitur ohne leere Systeme,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,

-FI: partituuri francesan tapaan.
+FI: partituuri ilman tyhjiä nuottiviivastoja.

 
 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
 
 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


@@ -3809,7 +3809,7 @@ you may wish to procure a copy of their style manual.
 ES: pentagrama a la francesa,
 I: ?,
 F: ?,
 ES: pentagrama a la francesa,
 I: ?,
 F: ?,

-D: ?,
+D: zeitweiliges Notensystem,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -4217,11 +4217,11 @@ For harmony that uses three or more notes, see @ref{chord}.
 ES: hemiolia,
 I: emiolia, (rarely hemiola or emiola),
 F: hémiole,
 ES: hemiolia,
 I: emiolia, (rarely hemiola or emiola),
 F: hémiole,

-D: ?,
+D: Hemiole,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,

-FI: 3/2 -suhde.
+FI: hemioli, 3/2 -suhde.

 
 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
 
 
 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
 


@@ -4289,7 +4289,7 @@ the same rhythm (more or less).  In contrast to @emph{polyphony}.
 ES: ?,
 I: ?,
 F: ?,
 ES: ?,
 I: ?,
 F: ?,

-D: ?,
+D: Silbenanzahl,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -4404,35 +4404,35 @@ The addition of such two intervals forms an octave.
 ES: inversión,
 I: rivolto,
 F: renversement,
 ES: inversión,
 I: rivolto,
 F: renversement,

-D: ?,
+D: Umkehrung,

 NL: ?,
 DK: ?,
 S: ?,
 FI: käännös.
 
 When a chord sounds with a bass note that differs from the root of the
 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, 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
 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
 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
 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
 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
 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
 
 unstable chord position.
 @end table
 


@@ -4527,14 +4527,14 @@ key of the music.
 ES: dejar vibrar,
 I: laissez vibrer,
 F: laissez vibrer,
 ES: dejar vibrar,
 I: laissez vibrer,
 F: laissez vibrer,

-D: ?,
+D: Laissez vibrer, schwingen lassen,

 NL: ?,
 DK: ?,
 S: ?,
 FI: antaa väristä.
 
 [French: @q{Let vibrate}]  Most frequently associated with harp
 NL: ?,
 DK: ?,
 S: ?,
 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.
 
 @seealso
 No cross-references.


@@ -4553,7 +4553,7 @@ S: largo,
 FI: largo, hitaasti, leveästi.
 
 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
 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
 
 
 @node leading note


@@ -4719,7 +4719,7 @@ FI: viiva, nuottiviiva.
 ES: en su lugar,
 I: loco,
 F: ?,
 ES: en su lugar,
 I: loco,
 F: ?,

-D: ?,
+D: loco,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -4798,7 +4798,7 @@ FI: sidonta sanoituksessa.
 ES: letra (de la canción),
 I: testo,
 F: paroles,
 ES: letra (de la canción),
 I: testo,
 F: paroles,

-D: Liedtext, Gesangtext,
+D: Liedtext, Gesangstext,

 NL: liedtekst,
 DK: ?,
 S: ?,
 NL: liedtekst,
 DK: ?,
 S: ?,


@@ -4848,11 +4848,11 @@ FI: suuri intervalli.
 ES: máxima,
 I: maxima,
 F: maxima, maxime,
 ES: máxima,
 I: maxima,
 F: maxima, maxime,

-D: ?,
+D: Maxima,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,

-FI: ?.
+FI: maxima.

 
 Note value: twice the length of a @notation{longa}.
 
 
 Note value: twice the length of a @notation{longa}.
 


@@ -4967,7 +4967,7 @@ No cross-references.
 ES: línea de melisma,
 I: linea del melisma,
 F: trait de mélisme, trait de tenue,
 ES: línea de melisma,
 I: linea del melisma,
 F: trait de mélisme, trait de tenue,

-D: ?,
+D: Fülllinie,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -4992,7 +4992,7 @@ FI: melismaviiva.
 ES: notación mensural,
 I: notazione mensurale,
 F: notation mensurale,
 ES: notación mensural,
 I: notazione mensurale,
 F: notation mensurale,

-D: ?,
+D: Mensuralnotation,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -5039,7 +5039,7 @@ TODO: add to definition (including summary info on proportional notation)
 ES: signo de mensuración,
 I: ?,
 F: signe de mensuration,
 ES: signo de mensuración,
 I: ?,
 F: signe de mensuration,

-D: ?,
+D: Mensurzeichen,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -5360,7 +5360,7 @@ Exact tempo indication (in beats per minute).  Abbreviated @notation{M.M.} or
 ES: mezzo,
 I: mezzo,
 F: mezzo,
 ES: mezzo,
 I: mezzo,
 F: mezzo,

-D: ?,
+D: mezzo, etwas,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -5416,7 +5416,7 @@ The female voice between soprano and contralto.
 ES: do central,
 I: do centrale,
 F: do central, do 3
 ES: do central,
 I: do centrale,
 F: do central, do 3

-D: eingestrichenes@w{ }c,
+D: zweigestrichenes@w{ }c,

 NL: centrale@w{ }c,
 DK: enstreget@w{ }c,
 S: ettstruket@w{ }c,
 NL: centrale@w{ }c,
 DK: enstreget@w{ }c,
 S: ettstruket@w{ }c,


@@ -5603,7 +5603,7 @@ 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
 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]
 German, as a reminiscence of its use in Renaissance vocal polyphony.
 
 @lilypond[quote,relative=2]


@@ -5846,7 +5846,7 @@ bracket, or @notation{loco} see octave marking.
 ES: indicación de octava,
 I: segno di ottava,
 F: indication d'octave,
 ES: indicación de octava,
 I: segno di ottava,
 F: indication d'octave,

-D: ?,
+D: Oktavierungszeichen,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -6237,7 +6237,7 @@ No cross-references.
 ES: compás polimétrico,
 I: polimetria,
 F: polymétrie,
 ES: compás polimétrico,
 I: polimetria,
 F: polymétrie,

-D: ?,
+D: Polymetrie,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -6262,7 +6262,7 @@ parts.
 ES: polimétrico,
 I: polimetrico,
 F: polymétrique,
 ES: polimétrico,
 I: polimetrico,
 F: polymétrique,

-D: ?,
+D: polymetrisch,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -6281,7 +6281,7 @@ simultaneously or in alternation.
 ES: indicación de compás polimétrico,
 I: tempo polimetrico,
 F: ?,
 ES: indicación de compás polimétrico,
 I: tempo polimetrico,
 F: ?,

-D: ?,
+D: zusammengesetzte Taktart,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -6318,7 +6318,7 @@ of a more or less pronounced individuality.
 [Italian: past participle of @emph{portare}, @q{to carry}]
 
 A stroke in which each of several notes is separated slightly within a slur,
 [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
 @notation{cantabile} character.
 
 @seealso


@@ -6352,7 +6352,7 @@ No cross-references.
 ES: proporción,
 I: proporzione,
 F: proportion,
 ES: proporción,
 I: proporzione,
 F: proportion,

-D: ?,
+D: Proportio,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -6496,7 +6496,7 @@ FI: kvartoli.
 ES: variante [de acorde o intervalo],
 I: qualità (?),
 F: qualité (?),
 ES: variante [de acorde o intervalo],
 I: qualità (?),
 F: qualité (?),

-D: ?,
+D: Modus (Dur oder Moll),

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -6506,7 +6506,7 @@ 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
 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
 
 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
 @headitem Chord name


@@ -6530,9 +6530,9 @@ the chord. These are described below:
 There are various types of seventh chords depending on the quality of the
 original chord and the quality of the seventh added.
 
 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,
 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
 except in jazz.
 
 @seealso


@@ -6910,7 +6910,7 @@ second depends on the scale degrees in question.
 @item ES: redonda,
 @item I: semibreve,
 @item F: ronde,
 @item ES: redonda,
 @item I: semibreve,
 @item F: ronde,

-@item D: Ganze, ganze Note,
+@item D: Ganze, ganze Note, Semibrevis,

 @item NL: hele noot,
 @item DK: helnode,
 @item S: helnot,
 @item NL: hele noot,
 @item DK: helnode,
 @item S: helnot,


@@ -7019,7 +7019,7 @@ FI: korotusmerkki.
 ES: simile, similar,
 I: simile,
 F: simile,
 ES: simile, similar,
 I: simile,
 F: simile,

-D: ?,
+D: simile, gleichartig,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -7039,7 +7039,7 @@ TODO: Where else could I refer the reader?
 ES: compás simple, compás de subdivisión binaria,
 I: ?,
 F: mesure binaire,
 ES: compás simple, compás de subdivisión binaria,
 I: ?,
 F: mesure binaire,

-D: ?,
+D: grader Takt,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -7358,7 +7358,7 @@ whole note.
 ES: stringendo, acelerando,
 I: stringendo,
 F: stringendo, en accélérant,
 ES: stringendo, acelerando,
 I: stringendo,
 F: stringendo, en accélérant,

-D: ?,
+D: stringendo,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -7601,7 +7601,7 @@ D: Notensystem, Partitur,
 NL: systeem,
 DK: system,
 S: system,
 NL: systeem,
 DK: system,
 S: system,

-FI: nuottijärjestelmä.
+FI: nuottiviivasto.

 
 The collection of staves (@notation{staff}), two or more, as used for writing
 down of keyboard, chamber, choral, or orchestral music.
 
 The collection of staves (@notation{staff}), two or more, as used for writing
 down of keyboard, chamber, choral, or orchestral music.


@@ -7859,7 +7859,7 @@ The first @notation{scale degree}.
 ES: instrumento transpositor,
 I: strumento traspositore,
 F: instrument transpositeur,
 ES: instrumento transpositor,
 I: strumento traspositore,
 F: instrument transpositeur,

-D: ?,
+D: transponierende Instrumente,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,


@@ -8025,7 +8025,7 @@ FI: trilli.
 ES: compás ternario,
 I: tempo ternario,
 F: mesure ternaire,
 ES: compás ternario,
 I: tempo ternario,
 F: mesure ternaire,

-D: in drei, ungerader Takt,
+D: Dreiertakt, ungerader Takt,

 NL: driedelige maatsoort,
 DK: tredelt takt,
 S: tretakt,
 NL: driedelige maatsoort,
 DK: tredelt takt,
 S: tretakt,


@@ -8077,7 +8077,7 @@ D: Stimmgabel,
 NL: stemvork,
 DK: stemmegaffel,
 S: stämgaffel,
 NL: stemvork,
 DK: stemmegaffel,
 S: stämgaffel,

-FI: viritysavain.
+FI: viritysavain, äänirauta.

 
 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
 
 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


@@ -8093,7 +8093,7 @@ standard.  Tuning forks for other pitches are available.
 ES: grupo de valoración especial,
 I: gruppi irregolari,
 F: ?,
 ES: grupo de valoración especial,
 I: gruppi irregolari,
 F: ?,

-D: ?,
+D: N-tole,

 NL: Antimetrische figuur,
 DK: ?,
 S: ?,
 NL: Antimetrische figuur,
 DK: ?,
 S: ?,


@@ -8198,7 +8198,7 @@ No cross-references.
 ES: vez, primera y segunda vez,
 I: volta,
 F: volta, fois,
 ES: vez, primera y segunda vez,
 I: volta,
 F: volta, fois,

-D: ?,
+D: volta-Klammer, Wiederholungsklammer,

 NL: ?,
 DK: ?,
 S: ?,
 NL: ?,
 DK: ?,
 S: ?,