Doc: ensure two spaces after end of sentence.

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

diff --git a/Documentation/music-glossary.tely b/Documentation/music-glossary.tely
index ef649b2996249a125455f63b52971884989db4c5..c62b359ac30240bb47542a7d1408c271917aba78 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]


@@ -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]


@@ -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}).
 


@@ -4411,28 +4411,28 @@ S: ?,
 FI: käännös.
 
 When a chord sounds with a bass note that differs from the root of the
 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
 


@@ -4534,7 +4534,7 @@ S: ?,
 FI: antaa väristä.
 
 [French: @q{Let vibrate}]  Most frequently associated with harp
 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


@@ -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]


@@ -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


@@ -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