Merge commit 'ce4b499'

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

diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely
index 0b43f03ffa0677b801fe66772a276b2cf2aa57a9..0c100d79abb9429d70ed06bdf5e728f0c6596590 100644 (file)
--- a/Documentation/user/music-glossary.tely
+++ b/Documentation/user/music-glossary.tely
@@ -36,10 +36,10 @@ and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page
 @author Jan Nieuwenhuizen   @c Dutch glossary
 
 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
 @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, 12/07

 
 Copyright @copyright{} 1999--2007 by the authors
 
 
 Copyright @copyright{} 1999--2007 by the authors
 

-

   Permission is granted to copy, distribute and/or modify this document
   under the terms of the GNU Free Documentation License, Version 1.1
   or any later version published by the Free Software Foundation,
   Permission is granted to copy, distribute and/or modify this document
   under the terms of the GNU Free Documentation License, Version 1.1
   or any later version published by the Free Software Foundation,


@@ -48,7 +48,7 @@ Copyright @copyright{} 1999--2007 by the authors
 @end titlepage
 
 
 @end titlepage
 
 

-@c FIXME: multiple omfcreators?
+@c TODO: multiple omfcreators?

 @ignore
 @omfcreator Christian Mondrup
 @omfdescription Glossary of musical terms with translations
 @ignore
 @omfcreator Christian Mondrup
 @omfdescription Glossary of musical terms with translations


@@ -94,7 +94,6 @@ English glossary translations.
 @*
 Copyright 1999--2007 by the authors
 
 @*
 Copyright 1999--2007 by the authors
 

-

   Permission is granted to copy, distribute and/or modify this document
   under the terms of the GNU Free Documentation License, Version 1.1
   or any later version published by the Free Software Foundation,
   Permission is granted to copy, distribute and/or modify this document
   under the terms of the GNU Free Documentation License, Version 1.1
   or any later version published by the Free Software Foundation,


@@ -131,12 +130,12 @@ Copyright 1999--2007 by the authors
 
 Languages in this order.
 @itemize
 
 Languages in this order.
 @itemize

+@item UK - British English (where it differs from American English)

 @item ES - Spanish
 @item I - Italian
 @item F - French
 @item D - German
 @item NL - Dutch
 @item ES - Spanish
 @item I - Italian
 @item F - French
 @item D - German
 @item NL - Dutch

-@item UK - British English

 @item DK - Danish
 @item S - Swedish
 @item FI - Finnish
 @item DK - Danish
 @item S - Swedish
 @item FI - Finnish


@@ -144,10 +143,12 @@ Languages in this order.
 
 @menu
 * A::                           
 
 @menu
 * A::                           

+* a due::                       

 * accent::                      
 * accessory::                   
 * accidental::                  
 * accelerando::                 
 * accent::                      
 * accessory::                   
 * accidental::                  
 * accelerando::                 

+* acciaccatura::                

 * adagio::                      
 * allegro::                     
 * alteration::                  
 * adagio::                      
 * allegro::                     
 * alteration::                  


@@ -175,6 +176,7 @@ Languages in this order.
 * beat::                        
 * bind::                        
 * brace::                       
 * beat::                        
 * bind::                        
 * brace::                       

+* bracket::                     

 * brass::                       
 * breath mark::                 
 * breve::                       
 * brass::                       
 * breath mark::                 
 * breve::                       


@@ -193,8 +195,12 @@ Languages in this order.
 * cluster::                     
 * comma::                       
 * common meter::                
 * cluster::                     
 * comma::                       
 * common meter::                

-* compound interval::           
+* common time::                 

 * complement::                  
 * complement::                  

+* compound interval::           
+* compound meter::              
+* compound time::               
+* concert pitch::               

 * conjunct movement::           
 * consonance::                  
 * contralto::                   
 * conjunct movement::           
 * consonance::                  
 * contralto::                   


@@ -227,6 +233,7 @@ Languages in this order.
 * double dotted note::          
 * double flat::                 
 * double sharp::                
 * double dotted note::          
 * double flat::                 
 * double sharp::                

+* double time signature::       

 * double trill::                
 * duple meter::                 
 * duplet::                      
 * double trill::                
 * duple meter::                 
 * duplet::                      


@@ -256,6 +263,9 @@ Languages in this order.
 * forefall::                    
 * forte::                       
 * fourth::                      
 * forefall::                    
 * forte::                       
 * fourth::                      

+* Frenched score::              
+* Frenched staff::              
+* Frenched staves::             

 * fugue::                       
 * functional harmony::          
 * G::                           
 * fugue::                       
 * functional harmony::          
 * G::                           


@@ -270,12 +280,14 @@ Languages in this order.
 * half rest::                   
 * harmonic cadence::            
 * harmony::                     
 * half rest::                   
 * harmonic cadence::            
 * harmony::                     

+* hemiola::                     

 * homophony::                   
 * interval::                    
 * inverted interval::           
 * just intonation::             
 * key::                         
 * key signature::               
 * homophony::                   
 * interval::                    
 * inverted interval::           
 * just intonation::             
 * key::                         
 * key signature::               

+* laissez vibrer::              

 * largo::                       
 * leading note::                
 * ledger line::                 
 * largo::                       
 * leading note::                
 * ledger line::                 


@@ -285,6 +297,7 @@ Languages in this order.
 * lilypond::                    
 * ligature::                    
 * line::                        
 * lilypond::                    
 * ligature::                    
 * line::                        

+* loco::                        

 * long appoggiatura::           
 * longa::                       
 * lyrics::                      
 * long appoggiatura::           
 * longa::                       
 * lyrics::                      


@@ -297,9 +310,11 @@ Languages in this order.
 * melisma::                     
 * melisma line::                
 * melodic cadence::             
 * melisma::                     
 * melisma line::                
 * melodic cadence::             

+* mensural notation::           

 * meter::                       
 * metronome::                   
 * metronomic indication::       
 * meter::                       
 * metronome::                   
 * metronomic indication::       

+* metronome mark::              

 * mezzo-soprano::               
 * middle C::                    
 * minor::                       
 * mezzo-soprano::               
 * middle C::                    
 * minor::                       


@@ -312,13 +327,15 @@ Languages in this order.
 * movement::                    
 * multi-measure rest::          
 * mixolydian mode::             
 * movement::                    
 * multi-measure rest::          
 * mixolydian mode::             

-* natural sign::                
+* natural::                     

 * neighbour tones::             
 * ninth::                       
 * non-legato::                  
 * note::                        
 * note head::                   
 * neighbour tones::             
 * ninth::                       
 * non-legato::                  
 * note::                        
 * note head::                   

+* note names::                  

 * note value::                  
 * note value::                  

+* octavation::                      

 * octave sign::                 
 * octave::                      
 * ornament::                    
 * octave sign::                 
 * octave::                      
 * ornament::                    


@@ -334,13 +351,18 @@ Languages in this order.
 * piano::                       
 * pitch::                       
 * pizzicato::                   
 * piano::                       
 * pitch::                       
 * pizzicato::                   

+* polymeter::                   
+* polymetric::                  
+* polymetric time signature::   

 * polyphony::                   
 * portato::                     
 * presto::                      
 * polyphony::                   
 * portato::                     
 * presto::                      

+* proportion::                  

 * Pythagorean comma::           
 * quadruplet::                  
 * quarter note::                
 * quarter rest::                
 * Pythagorean comma::           
 * quadruplet::                  
 * quarter note::                
 * quarter rest::                

+* quarter tone::                

 * quintuplet::                  
 * rallentando::                 
 * relative key::                
 * quintuplet::                  
 * rallentando::                 
 * relative key::                


@@ -360,7 +382,7 @@ Languages in this order.
 * sextuplet::                   
 * shake::                       
 * sharp::                       
 * sextuplet::                   
 * shake::                       
 * sharp::                       

-* short appoggiatura::          
+* simple meter::                

 * sixteenth note::              
 * sixteenth rest::              
 * sixth::                       
 * sixteenth note::              
 * sixteenth rest::              
 * sixth::                       


@@ -402,6 +424,7 @@ Languages in this order.
 * time signature::              
 * tone::                        
 * tonic::                       
 * time signature::              
 * tone::                        
 * tonic::                       

+* transposing instrument::      

 * transposition::               
 * treble clef::                 
 * tremolo::                     
 * transposition::               
 * treble clef::                 
 * tremolo::                     


@@ -411,6 +434,7 @@ Languages in this order.
 * triplet::                     
 * tritone::                     
 * tuning fork::                 
 * triplet::                     
 * tritone::                     
 * tuning fork::                 

+* tuplet::                      

 * turn::                        
 * unison::                      
 * upbeat::                      
 * turn::                        
 * unison::                      
 * upbeat::                      


@@ -440,6 +464,37 @@ FI: A, a.
 @ref{Pitch names}
 
 
 @ref{Pitch names}
 
 

+@node a due
+@section a due
+
+ES: ?,
+I: a due,
+F: à deux,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Abbreviated @samp{a2} or @samp{a 2}.
+
+@enumerate
+
+@item An indication in orchestral scores that a single part notated on a single
+staff that normally carries parts for two players (e.g. first and second oboes)
+is to be played by both players.
+
+@item Or conversely, that two pitches or parts notated on a staff that normally
+carries a single part (e.g. first violin) are to be played by different players,
+or groups of players (@q{desks}).
+
+@end enumerate
+
+@seealso
+
+@ref{Pitch names}
+
+

 @node accent
 @section accent
 
 @node accent
 @section accent
 


@@ -469,17 +524,17 @@ The stress of one tone over others.
 ES: alteración accidental,
 I: accidento,
 F: altération accidentelle,
 ES: alteración accidental,
 I: accidento,
 F: altération accidentelle,

-D: Vorzeichen, Versetzungszeichen, Akzidenz,
+D: Versetzungszeichen, Akzidenz,

 NL: toevallig (verplaatsings)teken,
 DK: løst fortegn,
 S: tillfälligt förtecken,
 FI: tilapäinen etumerkki.
 
 An accidental has the effect of an @ref{alteration} of a note.  A
 NL: toevallig (verplaatsings)teken,
 DK: løst fortegn,
 S: tillfälligt förtecken,
 FI: tilapäinen etumerkki.
 
 An accidental has the effect of an @ref{alteration} of a note.  A

-sharp raises a tone by a @ref{semitone}, a double sharp raises it by
-a @ref{whole tone}, a flat lowers it by a semitone and a double flat
+sharp raises a tone by a @ref{semitone}, a double sharp raises it by a
+@ref{whole tone}, a flat lowers it by a semitone and a double flat

 lowers it by a whole tone.  A natural cancels the effect of a previous
 lowers it by a whole tone.  A natural cancels the effect of a previous

-accidental.
+accidental, or a sharp or flat in the key signature.

 
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f
 
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f


@@ -511,6 +566,19 @@ FI: accelerando, kiihdyttäen.
 Increase tempo.
 
 
 Increase tempo.
 
 

+@node acciaccatura
+@section acciaccatura
+
+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.
+
+@seealso
+
+@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
+
+

 @node adagio
 @section adagio
 
 @node adagio
 @section adagio
 


@@ -524,10 +592,16 @@ S: adagio,
 FI: adagio, hitaasti.
 
 It.@: comfortable, easy.
 FI: adagio, hitaasti.
 
 It.@: comfortable, easy.

-1.@tie{}Slow tempo, slower -- especially in even meter -- than
+
+@itemize
+
+@item Slow tempo, slower -- especially in even meter -- than

 @ref{andante} and faster than @ref{largo}.
 @ref{andante} and faster than @ref{largo}.

-2.@tie{}A movement in slow tempo, especially the second (slow) movement of
-@ref{sonata}s, symphonies, etc.
+
+@item A movement in slow tempo, especially the second (slow) movement
+of @ref{sonata}s, symphonies, etc.
+
+@end itemize

 
 
 @node allegro
 
 
 @node allegro


@@ -550,13 +624,13 @@ tempo, especially the first and last movements of a @ref{sonata}.
 @section alteration
 
 ES: alteración,
 @section alteration
 
 ES: alteración,

-I: alterazione
-F: altération
-D:
+I: alterazione,
+F: altération,
+D: Alteration,

 NL: verhoging of verlaging,
 NL: verhoging of verlaging,

-DK:
-S:
-FI:
+DK: ?,
+S: ?,
+FI: ?.

 
 An alteration is the modification, raising or lowering, of a note's
 pitch.  It is established by an @ref{accidental}.
 
 An alteration is the modification, raising or lowering, of a note's
 pitch.  It is established by an @ref{accidental}.


@@ -574,10 +648,10 @@ DK: alt,
 S: alt,
 FI: altto, matala naisääni.
 
 S: alt,
 FI: altto, matala naisääni.
 

-A female voice of low range (@emph{contralto}).  Originally the alto was a
-high male voice (hence the name), which by the use of falsetto reached the
-height of the female voice.  This type of voice is also known as
-@ref{counter tenor}.
+A female voice of low range (@emph{contralto}).  Originally the alto
+was a high male voice (hence the name), which by the use of falsetto
+reached the height of the female voice.  This type of voice is also
+known as @ref{counter tenor}.

 
 
 @node alto clef
 
 
 @node alto clef


@@ -605,13 +679,13 @@ C clef setting middle C on the middle line of the staff.
 ES: ámbito,
 I: ambitus,
 F: ambitus,
 ES: ámbito,
 I: ambitus,
 F: ambitus,

-D: ambitus,
+D: Ambitus,

 NL: ambitus,
 DK: ambitus,
 S: ambitus,
 FI: ambitus, ääniala, soitinala.
 
 NL: ambitus,
 DK: ambitus,
 S: ambitus,
 FI: ambitus, ääniala, soitinala.
 

-The term ambit (from latin: ambitus, plural: ambitus) denotes a range
+The term ambit (from Latin: ambitus, plural: ambitus) denotes a range

 of pitches for a given voice in a part of music.  It may also denote
 the pitch range that a musical instrument is capable of playing.
 
 of pitches for a given voice in a part of music.  It may also denote
 the pitch range that a musical instrument is capable of playing.
 


@@ -629,8 +703,8 @@ 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 note(s)
-of a melody occurring in that incomplete measure.
+of music before a section of music. It also refers to the initial
+note(s) of a melody occurring in that incomplete measure.

 
 @seealso
 
 
 @seealso
 


@@ -650,8 +724,8 @@ of a melody occurring in that incomplete measure.
 
 ES: escala menor antigua,
 I: scala minore naturale,
 
 ES: escala menor antigua,
 I: scala minore naturale,

-F: forme du mode mineur ancien, troisème mode, mode hellénique
-D: reines Moll,
+F: forme du mode mineur ancien, troisème mode, mode hellénique,
+D: reines Moll, natürliches Moll,

 NL: authentieke mineurtoonladder,
 DK: ren mol,
 S: ren mollskala,
 NL: authentieke mineurtoonladder,
 DK: ren mol,
 S: ren mollskala,


@@ -689,18 +763,18 @@ Walking tempo/character.
 ES: apoyatura,
 I: appoggiatura,
 F: appoggiature, (port de voix),
 ES: apoyatura,
 I: appoggiatura,
 F: appoggiature, (port de voix),

-D: Vorschlag,
+D: Vorschlag, Vorhalt

 NL: voorslag,
 DK: forslag,
 S: förslag,
 FI: appoggiatura, etuhele.
 
 NL: voorslag,
 DK: forslag,
 S: förslag,
 FI: appoggiatura, etuhele.
 

-Ornamental note, usually a second, that is melodically connected with the
-main note following it.  In music before the 19th century appoggiature were
-usually performed on the beat, after that mostly before the beat.  While the
-short appoggiatura is performed as a short note regardless of the duration of
-the main note the duration of the long appoggiatura is proportional to that of
-the main note.
+Ornamental note, usually a second, that is melodically connected with
+the main note following it.  In music before the 19th century
+appoggiature were usually performed on the beat, after that mostly
+before the beat.  While the short appoggiatura is performed as a short
+note regardless of the duration of the main note the duration of the
+long appoggiatura is proportional to that of the main note.

 
 @lilypond[line-width=13.0\cm]
 \context Voice \relative c'' {
 
 @lilypond[line-width=13.0\cm]
 \context Voice \relative c'' {


@@ -787,11 +861,11 @@ D: Artikulation,
 NL: articulatie,
 DK: ?,
 S: ?,
 NL: articulatie,
 DK: ?,
 S: ?,

-FI: ?.
+FI: artikulaatio, ilmaisu.

 
 

-Articulation refers to notation which indicates how a note or notes should
-be played.  Slurs, accents, staccato, and legato are all examples of
-articulartion.
+Articulation refers to notation which indicates how a note or notes
+should be played.  Slurs, accents, staccato, and legato are all
+examples of articulation.

 
 
 @node ascending interval
 
 
 @node ascending interval


@@ -838,11 +912,15 @@ DK: håndskrift, autograf,
 S: handskrift,
 FI: käsinkirjoitettu nuotti.
 
 S: handskrift,
 FI: käsinkirjoitettu nuotti.
 

-1.@tie{}A manuscript in the composer's own hand.
-2.@tie{}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.
+@itemize
+
+@item A manuscript in the composer's own hand.
+
+@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.
+
+@end itemize

 
 
 @node B
 
 
 @node B


@@ -959,9 +1037,14 @@ DK: bas,
 S: bas,
 FI: basso, matala miesääni.
 
 S: bas,
 FI: basso, matala miesääni.
 

-1.@tie{}The lowest male voice.
-2.@tie{}Sometimes, especially in jazz music, used as
-an abbreviation for double bass.
+@itemize
+
+@item The lowest male voice.
+
+@item Sometimes, especially in jazz music, used as an abbreviation for
+double bass.
+
+@end itemize

 
 @seealso
 
 
 @seealso
 


@@ -980,8 +1063,8 @@ DK: bjælke,
 S: balk,
 FI: palkki.
 
 S: balk,
 FI: palkki.
 

-Line connecting a series of notes (shorter than a quarter note).
-The number of beams determines the note value of the connected notes.
+Line connecting a series of notes (shorter than a quarter note). The
+number of beams determines the note value of the connected notes.

 
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f
 
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f


@@ -1010,9 +1093,9 @@ DK: (takt)slag,
 S: taktslag,
 FI: aika-arvo.
 
 S: taktslag,
 FI: aika-arvo.
 

-Note value used for counting, most often half-, fourth-, and eighth notes.
-The base counting value and the number of them per measure is indicated at
-the start of the music.
+Note value used for counting, most often half-, fourth-, and eighth
+notes. The base counting value and the number of them per measure is
+indicated at the start of the music.

 
 @lilypond[fragment,line-width=13.0\cm]
 \key g \major
 
 @lilypond[fragment,line-width=13.0\cm]
 \key g \major


@@ -1043,9 +1126,11 @@ DK: klamme,
 S: klammer,
 FI: yhdistävä sulkumerkki.
 
 S: klammer,
 FI: yhdistävä sulkumerkki.
 

-Symbol at the start of a system connecting staves.  Curly braces are used
-for connecting piano staves, angular brackets for connecting parts in an
-orchestral or choral score.
+Symbol at the start of a system connecting staves.
+
+Curly braces are used for connecting piano staves, and sometimes for connecting
+the staves of like instruments in an orchestral score when written on different
+staves (e.g. first and second flutes):

 
 @lilypond[fragment,ragged-right]
 \context GrandStaff <<
 
 @lilypond[fragment,ragged-right]
 \context GrandStaff <<


@@ -1053,6 +1138,8 @@ orchestral or choral score.
   \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
 @end lilypond
 
   \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
 @end lilypond
 

+Angular brackets for connecting parts in an orchestral or choral score:
+

 @lilypond[fragment,ragged-right]
 \context StaffGroup <<
 %  \set StaffGroup.minVerticalAlign = #12
 @lilypond[fragment,ragged-right]
 \context StaffGroup <<
 %  \set StaffGroup.minVerticalAlign = #12


@@ -1061,6 +1148,23 @@ orchestral or choral score.
 @end lilypond
 
 
 @end lilypond
 
 

+@node bracket
+@section bracket
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@seealso
+
+@ref{brace}
+
+

 @node brass
 @section brass
 
 @node brass
 @section brass
 


@@ -1073,9 +1177,9 @@ DK: messingblæsere,
 S: brassinstrument, mässingsinstrument,
 FI: vaskisoitin.
 
 S: brassinstrument, mässingsinstrument,
 FI: vaskisoitin.
 

-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 tube.
+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 tube.

 
 
 @node breath mark
 
 
 @node breath mark


@@ -1092,6 +1196,7 @@ FI: hengitysmerkki.
 
 Indication of where to breathe in vocal and wind instrument parts.
 
 
 Indication of where to breathe in vocal and wind instrument parts.
 

+

 @node breve
 @section breve
 
 @node breve
 @section breve
 


@@ -1104,8 +1209,10 @@ DK: brevis,
 S: brevis,
 FI: brevis.
 
 S: brevis,
 FI: brevis.
 

-@ref{note value}, twice as long as a whole note.  Mainly used
-in pre-1650 music.
+@ref{note value}, twice as long as a whole note.  Mainly used in
+pre-1650 music.  The shortest note value generally used in white
+mensural notation, hence the name, which originally meant "of short
+duration".

 
 @lilypond[fragment,notime,ragged-right]
 \set Score.automaticBars = ##f
 
 @lilypond[fragment,notime,ragged-right]
 \set Score.automaticBars = ##f


@@ -1194,10 +1301,10 @@ S: kadens,
 FI: kadenssi, lopuke.
 
 An extended, improvisatory style section inserted near the end of
 FI: kadenssi, lopuke.
 
 An extended, improvisatory style section inserted near the end of

-movement.  The purpose of a cadenza is to give singers or players a chance
-to exhibit their technical skill and -- not last -- their ability to
-improvise.  Since the middle of the 19th century, however, most cadences have
-been written down by the composer.
+movement.  The purpose of a cadenza is to give singers or players a
+chance to exhibit their technical skill and -- not last -- their
+ability to improvise.  Since the middle of the 19th century, however,
+most cadenzas have been written down by the composer.

 
 
 @node canon
 
 
 @node canon


@@ -1230,8 +1337,8 @@ S: cent,
 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
 viritysjärjestelmässä.
 
 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
 viritysjärjestelmässä.
 

-Logarithmic unit of measurement.  1@tie{}cent is 1/1200 of an octave (1/100
-of an equally tempered @ref{semitone}).
+Logarithmic unit of measurement.  1@tie{}cent is 1/1200 of an octave
+(1/100 of an equally tempered @ref{semitone}).

 
 @seealso
 
 
 @seealso
 


@@ -1258,16 +1365,14 @@ DK: akkord,
 S: ackord,
 FI: sointu.
 
 S: ackord,
 FI: sointu.
 

-Three or more tones sounding simultaneously.  In traditional European music
-the
-base chord is a @emph{triad} consisting of 2@w{ }thirds.  @emph{Major} (major
-+
-minor @ref{third}) as well as @emph{minor} (minor + major third)
-chords may be extended with more thirds.  Four-tone @emph{seventh chords}
-and five-tone @emph{ninth} major chords are most often used as dominants
-(@ref{functional harmony}).  A special case is chords having no
-third above the lower notes to define their quality as major or minor.  Such
-chords are denoted open chords
+Three or more tones sounding simultaneously.  In traditional European
+music the base chord is a @emph{triad} consisting of 2@w{ }thirds. 
+@emph{Major} (major + minor @ref{third}) as well as @emph{minor}
+(minor + major third) chords may be extended with more thirds. 
+Four-tone @emph{seventh chords} and five-tone @emph{ninth} major
+chords are most often used as dominants (@ref{functional harmony}).  A
+special case is chords having no third above the lower notes to define
+their quality as major or minor.  Such chords are denoted open chords

 
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f
 
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f


@@ -1376,8 +1481,8 @@ pitches.  The three clef symbols in common use are:
 @end lilypond
 
 Imagine a large staff of 11 lines centered on middle C, sometimes
 @end lilypond
 
 Imagine a large staff of 11 lines centered on middle C, sometimes

-called a @q{grand staff}, with the bottom line representing low G
-and the top line high F:
+called a @q{grand staff}, with the bottom line representing low G and
+the top line high F:

 
 @lilypond[ragged-right,quote]
 \score {
 
 @lilypond[ragged-right,quote]
 \score {


@@ -1447,10 +1552,10 @@ and the top line high F:
 }  % End score
 @end lilypond
 
 }  % End score
 @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
+@samp{grand staff}. For example, the treble or G clef indicates that
+the top five lines have been selected:

 
 @lilypond[ragged-right,quote]
 \score {
 
 @lilypond[ragged-right,quote]
 \score {


@@ -1531,12 +1636,14 @@ lines have been selected:
 }  % End score
 @end lilypond
 
 }  % End score
 @end lilypond
 

-The @q{curl} of the G clef in centered on the line that represents the pitch G.
+The @q{curl} of the G clef in 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 @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.

 
 @lilypond[ragged-right,quote]
 \score {
 
 @lilypond[ragged-right,quote]
 \score {


@@ -1614,11 +1721,17 @@ shown below, where the notes show an arpeggio on a C major chord.
 @end lilypond
 
 
 @end lilypond
 
 

-

 @node cluster
 @section cluster
 
 @node cluster
 @section cluster
 

-ES: racimo.
+ES: racimo,
+I: ?,
+F: ?,
+D: Cluster,
+NL: ?,
+DK: ?,
+S: ?,
+FI: klusteri, cluster.

 
 A @emph{cluster} is a range of simultaneously sounding pitches that
 may change over time.  The set of available pitches to apply usually
 
 A @emph{cluster} is a range of simultaneously sounding pitches that
 may change over time.  The set of available pitches to apply usually


@@ -1659,8 +1772,8 @@ DK: komma,
 S: komma,
 FI: komma, korvinkuultava ero äänenkorkeudessa.
 
 S: komma,
 FI: komma, korvinkuultava ero äänenkorkeudessa.
 

-Difference in pitch between a note derived from pure tuning and the same note
-derived from some other tuning method.
+Difference in pitch between a note derived from pure tuning and the
+same note derived from some other tuning method.

 
 @seealso
 
 
 @seealso
 


@@ -1670,11 +1783,41 @@ derived from some other tuning method.
 @node common meter
 @section common meter
 
 @node common meter
 @section common meter
 

+@ref{common time}
+
+@seealso
+
+@ref{meter}.
+
+
+@node common time
+@section common time
+
+4/4 time.  The symbol, which resembles a capital letter C derives from
+mensural notation (q.v.).
+

 @seealso
 
 @ref{meter}.
 
 
 @seealso
 
 @ref{meter}.
 
 

+@node complement
+@section complement
+
+ES: intervalo invertido,
+I: rivolto,
+F: intervalle complémentaire,
+D: Komplementärintervall,
+NL: complementair interval,
+DK: komplementærinterval,
+S: komplementärintervall (?),
+FI: täydentävä intervalli.
+
+@seealso
+
+@ref{inverted interval}.
+
+

 @node compound interval
 @section compound interval
 
 @node compound interval
 @section compound interval
 


@@ -1694,21 +1837,109 @@ Intervals larger than an octave.
 @ref{interval}.
 
 
 @ref{interval}.
 
 

-@node complement
-@section complement
+@node compound meter
+@section compound meter

 
 

-ES: intervalo invertido,
-I: rivolto,
-F: intervalle complémentaire,
-D: Komplementärintervall,
-NL: complementair interval,
-DK: komplementærinterval,
-S: komplementärintervall (?),
-FI: täydentävä intervalli.
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A meter that includes a triplet subdivision within the beat, such as
+6/8, 9/8, 12/8.

 
 @seealso
 
 
 @seealso
 

-@ref{inverted interval}.
+@ref{meter}, @ref{simple meter}.
+
+
+@node compound time
+@section compound time
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@ref{compound meter}
+
+@seealso
+
+@ref{meter}.
+
+
+@node concert pitch
+@section concert pitch
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The pitch at which the piano and other nontransposing instruments play: such
+instruments are said to be @q{in C}.  The following list includes some (but not
+all) instruments that play in concert pitch:
+
+@itemize
+
+@item Woodwinds
+@itemize
+@item flute
+@item oboe
+@item bassoon
+@end itemize
+
+@item Brass
+@itemize
+@item alto trombone
+@item tenor trombone
+@item bass trombone
+@end itemize
+
+@item Strings
+@itemize
+@item violin
+@item viola
+@item violincello
+@end itemize
+
+@item piano
+
+@end itemize
+
+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.
+
+Instruments that play @q{in C} but in a different octave than what is written
+are, technically speaking, @emph{transposing instruments}:
+
+@itemize
+
+@item piccolo (plays an octave higher)
+@item celesta (plays an octave higher)
+@item double-bass (plays an octave lower)
+
+@end itemize
+
+@seealso
+
+@ref{transposing instrument}.

 
 
 @node conjunct movement
 
 
 @node conjunct movement


@@ -1778,14 +2009,14 @@ DK: kontrapunkt,
 S: kontrapunkt,
 FI: kontrapunkti, ääni ääntä vastaan.
 
 S: kontrapunkt,
 FI: kontrapunkti, ääni ääntä vastaan.
 

-From latin @emph{punctus contra punctum}, note against note.  The combination
-into a single musical fabric of lines or parts which have distinct melodic
-significance.  A frequently used polyphonic technique is imitation, in its
-strictest form found in the canon needing only one part to be written down
-while the other parts are performed with a given displacement.  Imitation is
-also the contrapunctal technique used in the @emph{fugue} which, since the
-music of the baroque era, has been one of the most popular polyphonic
-composition methods.
+From Latin @emph{punctus contra punctum}, note against note.  The
+combination into a single musical fabric of lines or parts which have
+distinct melodic significance.  A frequently used polyphonic technique
+is imitation, in its strictest form found in the canon needing only
+one part to be written down while the other parts are performed with a
+given displacement.  Imitation is also the contrapunctal technique
+used in the @emph{fugue} which, since the music of the baroque era,
+has been one of the most popular polyphonic composition methods.

 
 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
 \set Score.implicitTimeSignatureVisibility = #all-invisible
 
 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
 \set Score.implicitTimeSignatureVisibility = #all-invisible


@@ -1845,11 +2076,11 @@ FI: kontratenori.
 @node copying music
 @section copying music
 
 @node copying music
 @section copying music
 

-A music copyist did fast freehand scores and parts on preprinted staff lines
-for performance.  Some of their conventions (e.g., the placement of note heads
-on stems) varied slightly from those of engravers.  Some of their working
-methods were superior and could well be adopted by music typesetters.  This
-required more skill than engraving.
+A music copyist did fast freehand scores and parts on preprinted staff
+lines for performance.  Some of their conventions (e.g., the placement
+of note heads on stems) varied slightly from those of engravers.  Some
+of their working methods were superior and could well be adopted by
+music typesetters.  Copying music required more skill than engraving.

 
 
 @node crescendo
 
 
 @node crescendo


@@ -1864,8 +2095,8 @@ DK: crescendo,
 S: crescendo,
 FI: cresendo, voimistuen.
 
 S: crescendo,
 FI: cresendo, voimistuen.
 

-Increasing volume.  Indicated by a rightwards opening horizontal wedge or the
-abbreviation @samp{cresc.}.
+Increasing volume.  Indicated by a rightwards opening horizontal wedge
+or the abbreviation @samp{cresc.}.

 
 @lilypond[fragment,ragged-right]
 \key g \major \time 4/4
 
 @lilypond[fragment,ragged-right]
 \key g \major \time 4/4


@@ -1885,26 +2116,32 @@ DK: stiknoder,
 S: inprickningar,
 FI: vihjenuotit.
 
 S: inprickningar,
 FI: vihjenuotit.
 

-In a separate part notes belonging to another part with the purpose of hinting
-when to start playing.  Usually printed in a smaller type.
+In a separate part notes belonging to another part with the purpose of
+hinting when to start playing.  Usually printed in a smaller type.

 
 
 @node custos
 @section custos
 
 
 
 @node custos
 @section custos
 

+ES: ?,
+I: ?,

 F: guidon,
 F: guidon,

-D: Notenzeiger.
+D: Notenzeiger, Custos,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.

 
 

-A custos is a staff symbol that appears at the end of a staff line
-with monophonic musical contents (i.e., with a single voice).  It
-anticipates the pitch of the first note of the following line and thus
-helps the player or singer to manage line breaks during performance,
-thus enhancing readability of a score.
+A custos (plural: custodes) is a staff symbol that appears at the end
+of a staff line with monophonic musical contents (i.e., with a single
+voice).  It anticipates the pitch of the first note of the following
+line and thus helps the player or singer to manage line breaks during
+performance, thus enhancing readability of a score.

 
 Custodes were frequently used in music notation until the 16th
 century.  There were different appearences for different notation
 styles.  Nowadays, they have survived only in special forms of musical
 
 Custodes were frequently used in music notation until the 16th
 century.  There were different appearences for different notation
 styles.  Nowadays, they have survived only in special forms of musical

-notation such as via the editio vaticana dating back to the beginning
+notation such as via the Editio Vaticana dating back to the beginning

 of the 20th century
 
 @lilypond
 of the 20th century
 
 @lilypond


@@ -1957,8 +2194,9 @@ DK: da capo,
 S: da capo,
 FI: da capo, alusta.
 
 S: da capo,
 FI: da capo, alusta.
 

-The term indicates repetition of the piece from the beginning to the end or
-to a certain place marked @emph{fine}.  Mostly abbreviated as @samp{D.C.}.
+The term indicates repetition of the piece from the beginning to the
+end or to a certain place marked @emph{fine}.  Usually abbreviated as
+@samp{D.C.}.

 
 
 @node dal segno
 
 
 @node dal segno


@@ -2039,11 +2277,11 @@ DK: diatonisk skala,
 S: diatonisk skala,
 FI: diatoninen asteikko.
 
 S: diatonisk skala,
 FI: diatoninen asteikko.
 

-A scale consisting of 5@w{ }@ref{whole tone}s and
-2@w{ }@ref{semitone}s (S).  Scales played on the white keys
-of a piano keybord are diatonic.
+A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{
+}@ref{semitone}s (S).  Scales played on the white keys of a piano
+keybord are diatonic.

 
 

-The church modes are used in gregorial chant and in pre-baroque early
+The church modes are used in gregorian chant and in pre-baroque early

 music but also to some extent in newer jazz music.
 
 @lilypond[fragment,notime,ragged-right]
 music but also to some extent in newer jazz music.
 
 @lilypond[fragment,notime,ragged-right]


@@ -2133,9 +2371,9 @@ music but also to some extent in newer jazz music.
 @end lilypond
 
 From the beginning of the 17th century the scales used in European
 @end lilypond
 
 From the beginning of the 17th century the scales used in European

-compositional music are primarily the major and the minor scales.  In the
-harmonic minor scale type an augmented second (A) occurs between the 6th and
-7th tone.
+compositional music are primarily the major and the minor scales.  In
+the harmonic minor scale type an augmented second (A) occurs between
+the 6th and 7th tone.

 
 @lilypond[fragment,notime,ragged-right]
 \set Score.automaticBars = ##f
 
 @lilypond[fragment,notime,ragged-right]
 \set Score.automaticBars = ##f


@@ -2220,7 +2458,7 @@ FI: vähennetty intervalli.
 ES: diminuendo,
 I: diminuendo,
 F: diminuendo,
 ES: diminuendo,
 I: diminuendo,
 F: diminuendo,

-D: Diminuendo,
+D: diminuendo,

 NL: diminuendo,
 DK: diminuendo,
 S: diminuendo,
 NL: diminuendo,
 DK: diminuendo,
 S: diminuendo,


@@ -2237,7 +2475,7 @@ FI: diminuendo, hiljentyen.
 ES: ?,
 I: ?,
 F: ?,
 ES: ?,
 I: ?,
 F: ?,

-D: ?,
+D: Weiser, Zeiger,

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


@@ -2260,8 +2498,8 @@ DK: springende bevægelse,
 S: hoppande rörelse,
 FI: melodian hyppivä liike.
 
 S: hoppande rörelse,
 FI: melodian hyppivä liike.
 

-Progressing melodically by intervals larger than a major second.
-Opposite of @ref{conjunct movement}.
+Progressing melodically by intervals larger than a major second, as
+opposed to @ref{conjunct movement}.

 
 @lilypond[fragment,ragged-right]
 \key a \major
 
 @lilypond[fragment,ragged-right]
 \key a \major


@@ -2286,7 +2524,7 @@ ES: intervalo disonante, disonancia,
 I: intervallo dissonante, dissonanza,
 F: dissonance,
 D: Dissonanz,
 I: intervallo dissonante, dissonanza,
 F: dissonance,
 D: Dissonanz,

-NL: dissonant interval; dissonant,
+NL: dissonant interval, dissonant,

 DK: dissonerende interval, dissonans,
 S: dissonans,
 FI: dissonanssi, dissonoiva intervalli, riitasointi.
 DK: dissonerende interval, dissonans,
 S: dissonans,
 FI: dissonanssi, dissonoiva intervalli, riitasointi.


@@ -2374,11 +2612,9 @@ DK: punkt,
 S: punkt,
 FI: piste.
 
 S: punkt,
 FI: piste.
 

-@c TODO: fix double redirect -- to "dotted note", and thence to "note value"?
-

 @seealso
 
 @seealso
 

-@ref{dotted note}.
+@ref{dotted note}, @ref{note value}.

 
 
 @node dotted note
 
 
 @node dotted note


@@ -2481,6 +2717,23 @@ FI: kaksoisylennysmerkki.
 @ref{accidental}.
 
 
 @ref{accidental}.
 
 

+@node double time signature
+@section double time signature
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@seealso
+
+@ref{polymetric time signature}.
+
+

 @node double trill
 @section double trill
 
 @node double trill
 @section double trill
 


@@ -2502,7 +2755,7 @@ A simultaneous trill on two notes, usually in the distance of a third.
 ES: tiempo binario,
 I: tempo binario,
 F: temps binaire,
 ES: tiempo binario,
 I: tempo binario,
 F: temps binaire,

-D: in zwei,
+D: in zwei, grader Takt,

 NL: tweedelige maatsoort,
 DK: todelt takt,
 S: tvåtakt,
 NL: tweedelige maatsoort,
 DK: todelt takt,
 S: tvåtakt,


@@ -2560,20 +2813,21 @@ FI: kesto, aika-arvo.
 
 ES: ?,
 I: ?,
 
 ES: ?,
 I: ?,

-F: ?,
-D: ?,
+F: nuances,
+D: Dynamik, Lautstärke,

 NL: ?,
 DK: ?,
 S: ?,
 FI: ?.
 
 NL: ?,
 DK: ?,
 S: ?,
 FI: ?.
 

-The aspect of music relating to degrees of loudness, or changes from one
-degree to another.  The terms, abbreviations, and symbols used to indicate
-this information are called dynamic marks.
+The aspect of music relating to degrees of loudness, or changes from
+one degree to another.  The terms, abbreviations, and symbols used to
+indicate this information are called dynamic marks.

 
 @seealso
 
 
 @seealso
 

-@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo}, @ref{diminuendo}.
+@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
+@ref{diminuendo}.

 
 
 @node E
 
 
 @node E


@@ -2604,10 +2858,10 @@ FI: E, e.
 @node eighth note
 @section eighth note
 
 @node eighth note
 @section eighth note
 

+UK: quaver,

 ES: corchea,
 I: croma,
 F: croche,
 ES: corchea,
 I: croma,
 F: croche,

-UK: quaver,

 D: Achtel, Achtelnote,
 NL: achtste noot,
 DK: ottendedelsnode,
 D: Achtel, Achtelnote,
 NL: achtste noot,
 DK: ottendedelsnode,


@@ -2622,10 +2876,10 @@ FI: kahdeksasosanuotti.
 @node eighth rest
 @section eighth rest
 
 @node eighth rest
 @section eighth rest
 

+UK: quaver rest,

 ES: silencio de corchea,
 I: pausa di croma,
 F: demi-soupir,
 ES: silencio de corchea,
 I: pausa di croma,
 F: demi-soupir,

-UK: quaver rest,

 D: Achtelpause,
 NL: achtste rust,
 DK: ottendedelspause,
 D: Achtelpause,
 NL: achtste rust,
 DK: ottendedelspause,


@@ -2640,7 +2894,18 @@ FI: kahdeksasosatauko.
 @node elision
 @section elision
 
 @node elision
 @section elision
 

-FIXME: languages, definition
+@c TODO: add languages
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@c TODO definition -- referenced from lyric tie

 
 
 @node embellishment
 
 
 @node embellishment


@@ -2657,15 +2922,15 @@ FIXME: languages, definition
 ES: grabar,
 I: incisione,
 F: gravure,
 ES: grabar,
 I: incisione,
 F: gravure,

-D: Notenstechen, Notendruck
+D: Notenstich, Notendruck

 NL: steken,
 DK: nodestik,
 S: nottryck,
 FI: painatus.
 
 NL: steken,
 DK: nodestik,
 S: nottryck,
 FI: painatus.
 

-Engraving means incising or etching a metal plate for
-printing.  Photoengraving means drawing music with ink in a manner
-similar to drafting or engineering drawing, using similar tools.
+Engraving means incising or etching a metal plate for printing. 
+Photoengraving means drawing music with ink in a manner similar to
+drafting or engineering drawing, using similar tools.

 
 The traditional process of music printing is done through cutting in a
 plate of metal.  Now also the term for the art of music typesetting.
 
 The traditional process of music printing is done through cutting in a
 plate of metal.  Now also the term for the art of music typesetting.


@@ -2683,8 +2948,8 @@ DK: enharmonisk,
 S: enharmonisk,
 FI: enharmoninen.
 
 S: enharmonisk,
 FI: enharmoninen.
 

-Two notes, intervals, or scales are enharmonic if they have different names
-but equal pitch.
+Two notes, intervals, or scales are enharmonic if they have different
+names but equal pitch.

 
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f
 
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f


@@ -2732,36 +2997,40 @@ DK: foredragsbetegnelse,
 S: föredragsbeteckning,
 FI: nyanssiosoitus, esitysmerkki.
 
 S: föredragsbeteckning,
 FI: nyanssiosoitus, esitysmerkki.
 

-Performance indications concerning 1. volume, dynamics (for example
-@ref{forte}, @ref{crescendo}), 2. tempo (for example
-@ref{andante}, @ref{allegro}).
+Performance indications concerning:
+
+@itemize
+
+@item volume, dynamics (for example @ref{forte}, @ref{crescendo}),
+
+@item tempo (for example @ref{andante}, @ref{allegro}).
+
+@end itemize

 
 
 @node extender line
 @section extender line
 
 
 
 @node extender line
 @section extender line
 

-FIXME: add languages
-

 ES: línea de extención [de melisma, de bajo cifrado, etc.],
 I: ?,
 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
 ES: línea de extención [de melisma, de bajo cifrado, etc.],
 I: ?,
 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],

-D: ?,
+D: Fülllinie,

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

-FI: .
+FI: ?.

 
 

-The generic term for a line (or dash) of arbitrary length that
-extends text (without indicating the musical @emph{function} of
-that text).
+The generic term for a line (or dash) of arbitrary length that extends
+text (without indicating the musical @emph{function} of that text).

 
 Used in many contexts, for example:
 
 @itemize
 
 Used in many contexts, for example:
 
 @itemize

-@item
-In vocal music to indicate the syllable for a melisma.  Called @q{extension}
-in the
-@uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music Dictionary}.
+
+@item In vocal music to indicate the syllable for a melisma.  Called
+@q{extension} in the
+@uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
+Dictionary}.

 
 @item
 In figured (or thorough) bass to indicate that:
 
 @item
 In figured (or thorough) bass to indicate that:


@@ -2781,17 +3050,21 @@ In figured (or thorough) bass to indicate that:
        @end itemize
 
 @item
        @end itemize
 
 @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.
+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.
+
+@item
+With an octave indication (also called @emph{octavation}, q.v.) to indicate that
+a passage is to be played higher or lower by the given number of octaves.

 
 @end itemize
 
 @seealso
 
 
 @end itemize
 
 @seealso
 

-@ref{melisma}, @ref{sul G}, @ref{thorough bass}
+@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octavation}.

 
 
 @node F
 
 
 @node F


@@ -2823,12 +3096,12 @@ DK: F-nøgle,
 S: f-klav,
 FI: F-avain.
 
 S: f-klav,
 FI: F-avain.
 

-The position between the dots of the key symbol is the line of the F below
-central@w{ }C.  Used on the third, fourth and fifth note line.  A
-digit@w{ }8 above the clef symbol indicates that the notes must be played
-an octave higher (for example, bass recorder) while 8@w{ }below the clef
-symbol indicates playing an octave lower (for example, on double bass
-@ref{strings}).
+The position between the dots of the key symbol is the line of the F
+below central@w{ }C.  Used on the third, fourth and fifth note line. 
+A digit@w{ }8 above the clef symbol indicates that the notes must be
+played an octave higher (for example, bass recorder) while 8@w{ }below
+the clef symbol indicates playing an octave lower (for example, on
+double bass @ref{strings}).

 
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f
 
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f


@@ -2868,8 +3141,8 @@ symbol indicates playing an octave lower (for example, on double bass
 
 ES: ?,
 I: ?,
 
 ES: ?,
 I: ?,

-F: ?,
-D: ?,
+F: liens de croches en soufflet,
+D: gespreizter Balken,

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


@@ -2981,7 +3254,7 @@ less than a quarter note.  The number of flags determines the
 ES: bemol,
 I: bemolle,
 F: bémol,
 ES: bemol,
 I: bemolle,
 F: bémol,

-D: B, b,
+D: B,

 NL: mol,
 DK: b,
 S: beförtecken,
 NL: mol,
 DK: b,
 S: beförtecken,


@@ -3033,44 +3306,106 @@ FI: kvartti.
 @ref{interval}.
 
 
 @ref{interval}.
 
 

-@node fugue
-@section fugue
+@node Frenched score
+@section Frenched score

 
 

-ES: fuga,
-I: fuga,
-F: fugue,
-D: Fuge,
-NL: fuga,
-DK: fuga,
-S: fuga,
-FI: fuuga.
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.

 
 

-@seealso
+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
+to take up the space thus liberated, which reduces the total number of pages
+used to print the work.

 
 

-@ref{counterpoint}.
+The specific rules for @q{frenching} a score differ from publisher to publisher.
+If you are producing scores for eventual publication by a commercial publisher,
+you may wish to procure a copy of their style manual.

 
 

+@seealso

 
 

-@node functional harmony
-@section functional harmony
+@ref{Frenched staff}.

 
 

-ES: armonía funcional,
-I: armonia funzionale,
-F: étude des functions,
-D: Funktionslehre,
-NL: functionele harmonie,
-DK: funktionsanalyse, funktionsharmonik,
-S: funktionslära,
-FI: harmoniajärjestelmä.

 
 

-A system of harmonic analysis.  It is based on the idea that, in a given key,
-there are only three functionally different chords: tonic (T, the chord on the
-first note of the scale), subdominant (S, the chord on the fourth note), and
-dominant (D, the chord on the fifth note).  Others are considered to be
-variants of the base chords.
+@node Frenched staff
+@section Frenched staff

 
 

-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-<<
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded
+measures or sections removed.  This would be useful for producing, for example,
+an @emph{ossia} staff.
+
+@seealso
+
+@ref{ossia}.
+
+
+@node Frenched staves
+@section Frenched staves
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The plural of @ref{Frenched staff}, @emph{q.v.}.
+
+
+@node fugue
+@section fugue
+
+ES: fuga,
+I: fuga,
+F: fugue,
+D: Fuge,
+NL: fuga,
+DK: fuga,
+S: fuga,
+FI: fuuga.
+
+@seealso
+
+@ref{counterpoint}.
+
+
+@node functional harmony
+@section functional harmony
+
+ES: armonía funcional,
+I: armonia funzionale,
+F: étude des functions,
+D: Funktionslehre,
+NL: functionele harmonie,
+DK: funktionsanalyse, funktionsharmonik,
+S: funktionslära,
+FI: harmoniajärjestelmä.
+
+A system of harmonic analysis.  It is based on the idea that, in a
+given key, there are only three functionally different chords: tonic
+(T, the chord on the first note of the scale), subdominant (S, the
+chord on the fourth note), and dominant (D, the chord on the fifth
+note).  Others are considered to be variants of the base chords.
+
+@lilypond[fragment,notime,line-width=13.0\cm]
+\set Score.automaticBars = ##f
+<<

 \context Voice \relative c'' {
   <g e c >1 < a f d > < b g e >
   <c a f > < d b g > < e c a > < f d b > }
 \context Voice \relative c'' {
   <g e c >1 < a f d > < b g e >
   <c a f > < d b g > < e c a > < f d b > }


@@ -3109,11 +3444,11 @@ DK: g-nøgle,
 S: g-klav,
 FI: G-avain.
 
 S: g-klav,
 FI: G-avain.
 

-A clef symbol indicating the G above central@w{ }C.  Used on the first
+A clef symbol indicating the G above middle@w{ }C.  Used on the first

 and second note lines.  A digit 8 above the clef symbol indicates that
 and second note lines.  A digit 8 above the clef symbol indicates that

-the notes must be played an octave higher while 8 below the clef symbol
-indicates playing or singing an octave lower (most tenor parts in choral
-scores are notated like that).
+the notes must be played an octave higher while 8 below the clef
+symbol indicates playing or singing an octave lower (most tenor parts
+in choral scores are notated like that).

 
 @lilypond[fragment,notime,ragged-right]
 <<
 
 @lilypond[fragment,notime,ragged-right]
 <<


@@ -3172,7 +3507,10 @@ FI: korunuotit.
 Notes printed in small types to indicate that their time values are not
 counted in the rhythm of the bar.
 
 Notes printed in small types to indicate that their time values are not
 counted in the rhythm of the bar.
 

-@ref{appoggiatura}.
+@seealso
+
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
+@ref{ornament}.

 
 
 @node grand staff
 
 
 @node grand staff


@@ -3181,7 +3519,7 @@ counted in the rhythm of the bar.
 ES: sistema de piano,
 I: accolatura,
 F: accolade,
 ES: sistema de piano,
 I: accolatura,
 F: accolade,

-D: Akkolade,
+D: Akkolade, Klaviersystem,

 NL: piano systeem,
 DK: klaversystem,
 S: ackolad, böjd klammer,
 NL: piano systeem,
 DK: klaversystem,
 S: ackolad, böjd klammer,


@@ -3200,7 +3538,7 @@ A combination of two staves with a brace.  Usually used for piano music.
 ES: grave,
 I: grave,
 F: grave,
 ES: grave,
 I: grave,
 F: grave,

-D: grave, langsam,
+D: Grave, Langsam,

 NL: grave, ernstig,
 DK: grave,
 S: grave,
 NL: grave, ernstig,
 DK: grave,
 S: grave,


@@ -3229,8 +3567,9 @@ DK: h,
 S: h,
 FI: H, h.
 
 S: h,
 FI: H, h.
 

-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 @samp{B natural} in German and Scandinavian
+usage.  In the standard usage of these countries, @samp{B} means
+@samp{B flat}.

 
 @seealso
 
 
 @seealso
 


@@ -3240,10 +3579,10 @@ standard usage of these countries, @samp{B} means @samp{B flat}.
 @node half note
 @section half note
 
 @node half note
 @section half note
 

+UK: minim,

 ES: blanca,
 I: minima,
 F: blanche,
 ES: blanca,
 I: minima,
 F: blanche,

-UK: minim,

 D: Halbe, halbe Note,
 NL: halve noot,
 DK: halvnode,
 D: Halbe, halbe Note,
 NL: halve noot,
 DK: halvnode,


@@ -3258,10 +3597,10 @@ FI: puolinuotti.
 @node half rest
 @section half rest
 
 @node half rest
 @section half rest
 

+UK: minim rest,

 ES: silencio de blanca,
 I: pausa di minima,
 F: demi-pause,
 ES: silencio de blanca,
 I: pausa di minima,
 F: demi-pause,

-UK: minim rest,

 D: halbe Pause,
 NL: halve, rust,
 DK: halvnodespause,
 D: halbe Pause,
 NL: halve, rust,
 DK: halvnodespause,


@@ -3285,8 +3624,7 @@ DK: harmonisk kadence,
 S: (harmonisk) kadens,
 FI: harmoninen kadenssi.
 
 S: (harmonisk) kadens,
 FI: harmoninen kadenssi.
 

-A sequence of chords that terminates a musical phrase or
-section.
+A sequence of chords that terminates a musical phrase or section.

 
 @ref{functional harmony}.
 
 
 @ref{functional harmony}.
 


@@ -3326,8 +3664,8 @@ DK: samklang,
 S: samklang,
 FI: harmonia, yhteissointi.
 
 S: samklang,
 FI: harmonia, yhteissointi.
 

-Tones sounding simultaneously.  Two note harmonies fall into the categories
-@emph{consonances} and @emph{dissonances}.
+Tones sounding simultaneously.  Two note harmonies fall into the
+categories @emph{consonances} and @emph{dissonances}.

 
 Consonances:
 
 
 Consonances:
 


@@ -3360,6 +3698,34 @@ Dissonances:
 Three note harmony @ref{chord}.
 
 
 Three note harmony @ref{chord}.
 
 

+@node hemiola
+@section hemiola
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
+the use of three notes of equal value in the time normally occupied by
+of two notes of equal value.  The resulting rhythm can be expressed in
+modern terms as a substitution (for example) of a bar in 3/2 for one
+of 6/4, or of a bar in 3/4 for one of 6/8.  During the Baroque era,
+hemiola is most frequently as a special effect (or @emph{affect}) at
+cadences.
+
+@c TODO: prepare example - {\time 6/4 c2. c2. | c2 c c} or
+@c cont'd:       {\time 6/4 c2. c2. | \time 3/2 c2 c2 c2 }
+
+@seealso
+
+@ref{mensural notation}, @ref{meter}
+
+

 @node homophony
 @section homophony
 
 @node homophony
 @section homophony
 


@@ -3372,8 +3738,9 @@ DK: homofoni,
 S: homofoni,
 FI: homofonia, yksiäänisyys.
 
 S: homofoni,
 FI: homofonia, yksiäänisyys.
 

-Music in which one voice leads melodically followed by the other voices more
-or less in the same rhythm.  In contrast to @ref{polyphony}.
+Music in which one voice leads melodically followed by the other
+voices more or less in the same rhythm.  In contrast to
+@ref{polyphony}.

 
 
 @node interval
 
 
 @node interval


@@ -3388,11 +3755,11 @@ DK: interval,
 S: intervall,
 FI: intervalli, kahden sävelen korkeusero.
 
 S: intervall,
 FI: intervalli, kahden sävelen korkeusero.
 

-Difference in pitch between two notes.  Intervals may be perfect, minor,
-major, diminished, or augmented.  The augmented fourth and the diminished fifth
-are identical (@ref{enharmonic}) and are called @emph{tritonus} because they
-consist of three @ref{whole tone}s.  The addition of such two intervals forms an
-octave.
+Difference in pitch between two notes.  Intervals may be perfect,
+minor, major, diminished, or augmented.  The augmented fourth and the
+diminished fifth are identical (@ref{enharmonic}) and are called
+@emph{tritonus} because they consist of three @ref{whole tone}s.  The
+addition of such two intervals forms an octave.

 
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f
 
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f


@@ -3536,6 +3903,22 @@ key of the music.
 @ref{accidental}.
 
 
 @ref{accidental}.
 
 

+@node laissez vibrer
+@section laissez vibrer
+
+ES: ?,
+I: ?,
+F: laissez vibrer,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From French] "Let vibrate". Most frequently associated with harp
+parts. Marked @samp{l.v.} in the score.
+
+

 @node largo
 @section largo
 
 @node largo
 @section largo
 


@@ -3564,9 +3947,9 @@ DK: ledetone,
 S: ledton,
 FI: johtosävel.
 
 S: ledton,
 FI: johtosävel.
 

-The seventh @ref{scale degree}, a @ref{semitone} below
-the tonic; so called because of its strong tendency to @q{lead up} (resolve
-upwards) to the tonic scale degree.
+The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so
+called because of its strong tendency to @q{lead up} (resolve upwards)
+to the tonic scale degree.

 
 
 @node ledger line
 
 
 @node ledger line


@@ -3595,15 +3978,15 @@ A ledger line is an extension of the staff.
 ES: legato,
 I: legato,
 F: legato, lié,
 ES: legato,
 I: legato,
 F: legato, lié,

-D: legato,
+D: legato, gebunden,

 NL: legato,
 DK: legato,
 S: legato,
 FI: legato, sitoen.
 
 NL: legato,
 DK: legato,
 S: legato,
 FI: legato, sitoen.
 

-To be performed (a) without any perceptible interruption between the notes,
-unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
-(d) @ref{staccato}.
+To be performed (a) without any perceptible interruption between the
+notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c)
+@emph{portato}, and (d) @ref{staccato}.

 
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f
 
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f


@@ -3643,10 +4026,10 @@ unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
 @node lilypond
 @section lilypond
 
 @node lilypond
 @section lilypond
 

+UK: lily pond,

 ES: estanque de nenúfares,
 I: stagno del giglio,
 ES: estanque de nenúfares,
 I: stagno del giglio,

-F: étang de lis,
-UK: lily pond,
+F: étang de nénuphars, étang de nymphéas,

 D: Seerosenteich,
 NL: le@-lie@-vij@-ver,
 DK: liliedam,
 D: Seerosenteich,
 NL: le@-lie@-vij@-ver,
 DK: liliedam,


@@ -3659,7 +4042,14 @@ A pond with lilies floating in it, also the name of a music typesetter.
 @node ligature
 @section ligature
 
 @node ligature
 @section ligature
 

-ES: ligadura
+ES: ligadura,
+I: ?,
+F: ligature,
+DE: Ligatur,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ligatuura.

 
 A ligature is a coherent graphical symbol that represents at least two
 distinct notes.  Ligatures originally appeared in the manuscripts of
 
 A ligature is a coherent graphical symbol that represents at least two
 distinct notes.  Ligatures originally appeared in the manuscripts of


@@ -3688,13 +4078,33 @@ FI: viiva, nuottiviiva.
 @ref{staff}.
 
 
 @ref{staff}.
 
 

+@node loco
+@section loco
+
+ES: ?,
+I: loco,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Italian, @q{place}].  Instruction to play the following passage at the
+written pitch.  Cancels octavation (q.v.).
+
+@seealso
+
+@ref{octavation}.
+
+

 @node long appoggiatura
 @section long appoggiatura
 
 ES: apoyatura larga,
 I: appoggiatura lunga,
 F: appoggiature longue,
 @node long appoggiatura
 @section long appoggiatura
 
 ES: apoyatura larga,
 I: appoggiatura lunga,
 F: appoggiature longue,

-D: langer Vorschlag,
+D: Vorhalt,

 NL: Lange voorslag,
 DK: langt forslag,
 S: långt förslag,
 NL: Lange voorslag,
 DK: langt forslag,
 S: långt förslag,


@@ -3736,19 +4146,28 @@ Note value: double length of @ref{breve}.
 @section lyrics
 
 ES: letra (de la canción),
 @section lyrics
 
 ES: letra (de la canción),

-I: .,
+I: ?,

 F: paroles,
 F: paroles,

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

 NL: liedtekst,
 NL: liedtekst,

-DK: .,
-S: .,
-FI, sanoitus.
+DK: ?,
+S: ?,
+FI: sanoitus.

 
 
 @node lyric tie
 @section lyric tie
 
 
 
 @node lyric tie
 @section lyric tie
 

-FIXME: add languages
+ES: ?,
+I: ?,
+F: ?,
+D: Textbindung,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@c TODO: add languages

 
 @seealso
 
 
 @seealso
 


@@ -3801,10 +4220,11 @@ DK: middeltonetemperatur,
 S: medeltonstemperatur,
 FI: keskisävelviritys.
 
 S: medeltonstemperatur,
 FI: keskisävelviritys.
 

-Temperament yielding acoustically pure thirds by decreasing the natural fifth
-by 16@w{ }@ref{cent}s.  Due to the non-circular character of this
-@ref{temperament} only a limited set of keys are playable.
-Used for tuning keyboard instruments for performance of pre-1650 music.
+Temperament yielding acoustically pure thirds by decreasing the
+natural fifth by 16@w{ }@ref{cent}s.  Due to the non-circular
+character of this @ref{temperament} only a limited set of keys are
+playable. Used for tuning keyboard instruments for performance of
+pre-1650 music.

 
 
 @node measure
 
 
 @node measure


@@ -3820,9 +4240,9 @@ S: takt,
 FI: tahti.
 
 A group of @ref{beat}s (units of musical time) the first of which
 FI: tahti.
 
 A group of @ref{beat}s (units of musical time) the first of which

-bears an accent.  Such groups in numbers of two or more recur consistently
-throughout the composition and are marked from each other by
-bar-lines.
+bears an accent.  Such groups in numbers of two or more recur
+consistently throughout the composition and are marked from each other
+by bar-lines.

 
 @ref{meter}.
 
 
 @ref{meter}.
 


@@ -3839,31 +4259,49 @@ DK: mediant,
 S: mediant,
 FI: keskisävel.
 
 S: mediant,
 FI: keskisävel.
 

-1.@tie{}The third @b{scale degree}.
-2.@tie{}A @ref{chord} having its base tone
-a third from that of another chord.  For example, the tonic chord may be
-replaced by its lower mediant (variant tonic).
+@itemize
+
+@item The third @b{scale degree}.

 
 

-@ref{functional
-harmony}, @ref{relative key}.
+@item A @ref{chord} having its base tone a third from that of another
+chord.  For example, the tonic chord may be replaced by its lower
+mediant (variant tonic).
+
+@end itemize
+
+@seealso
+@ref{functional harmony}, @ref{relative key}.

 
 
 @node melisma
 @section melisma
 
 ES: melisma,
 
 
 @node melisma
 @section melisma
 
 ES: melisma,

+I: ?,

 F: mélisme,
 F: mélisme,

+D: Melisma,

 NL: melisma,
 NL: melisma,

+DK: ?,
+S: ?,

 FI: melisma, laulettavan tavun sävelkuvio.
 
 FI: melisma, laulettavan tavun sävelkuvio.
 

-A melisma (plural: melismata) is a group of notes or tones sung on one
-syllable in plainsong
+A melisma (plural, from Greek: melismata) is a group of notes or tones
+sung on one syllable, especially as applied to liturgical chant.

 
 
 @node melisma line
 @section melisma line
 
 
 
 @node melisma line
 @section melisma line
 

-FIXME: add languages
+@c TODO: add languages
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.

 
 @seealso
 
 
 @seealso
 


@@ -3878,11 +4316,30 @@ FIXME: add languages
 @ref{cadenza}.
 
 
 @ref{cadenza}.
 
 

+@node mensural notation
+@section mensural notation
+
+@c TODO: add languages
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@c TODO: add definition (inc. info on proportional notation)
+
+@c TODO: add cross-references.
+
+

 @node meter
 @section meter
 
 @node meter
 @section meter
 

-ES: compás,
-I: tempo, metro,
+ES: tiempo, compás,
+I: tempo, misura,

 F: indication de mesure, mesure,
 D: Taktart, Metrum,
 NL: maatsoort,
 F: indication de mesure, mesure,
 D: Taktart, Metrum,
 NL: maatsoort,


@@ -3890,38 +4347,146 @@ DK: taktart,
 S: taktart,
 FI: aika-arvo.
 
 S: taktart,
 FI: aika-arvo.
 

-The basic scheme of @ref{note value}s and @ref{accent}s which remains
-unaltered throughout a composition or a section of it.  For instance,
-3/4 meter means that the basic @ref{note value}s are quarter notes and
-that a @ref{measure} consists of three of those.  According to whether
-there are two, three, or four units to the measure, one speaks of
-@emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
-@emph{quadruple} (4/2, 4/4, 4/8) meter.  4/4 is also called common
-meter.
+The basic pattern of @ref{note value}s and @ref{accent}s that remains
+unaltered throughout a composition or a section of it. Meters can be
+@emph{duple} or @emph{triple} depending on how the beat is grouped in
+the composition (or in sections thereof):
+
+@itemize
+
+@item In duple meters, the beat recurs in groups of two.
+
+@item In triple meters, the beat recurs in groups of three.
+
+@end itemize
+
+Other recurrence patterns are possible:
+
+@itemize
+
+@item Quadruple meter: groups of four.  A special case of duple meter.
+
+@item Quintuple meter: groups of five
+
+@item Sextuple meter: groups of six.  A special case of:
+
+@itemize
+@item Duple meter, subdivided in three (less frequent); or
+@item Triple meter, subdivided in two (more frequent).
+@end itemize
+
+@item Septuple meter: groups of seven.
+
+@item etc.
+
+@end itemize
+
+Other than quadruple and sextuple meters, these other recurrence
+patterns were not frequently used prior to the 20th Century.
+
+In addition to classification by primary beat grouping, meters can be further
+classified by how the primary beat is subdivided: if in two, the meter is
+@emph{simple}; if in three, the meter is @emph{compound}.
+
+@itemize
+
+@item Simple meter
+
+@itemize
+@item duple: 2/2, 2/4, 2/8
+@item triple: 3/2, 3/4, 3/8
+@item quadruple: 4/2, 4/4 (also called common time), 4/8
+@end itemize
+
+@item Compound meter
+
+@itemize
+@item duple: 6/8
+@item triple: 9/8
+@item quadruple: 12/8
+@end itemize
+
+@end itemize
+
+Time signatures are placed at the beginning of a composition (or
+section) to indicate the meter.  For instance, a piece written in
+simple triple meter with a beat on each quarter note has a time
+signature of 3/4.
+
+Simple duple meter:
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c'' {
+  \time 2/4
+  \key c \major
+  c4. d8 | e4 d | f e | d8 b c4 \bar "||"}
+@end lilypond
+
+Simple triple meter:

 
 @lilypond[fragment,line-width=13.0\cm]
 \relative c'' {
   \time 3/4
 
 @lilypond[fragment,line-width=13.0\cm]
 \relative c'' {
   \time 3/4

-  \key f \major
-  c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
+  \key c \minor
+  c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}

 @end lilypond
 
 @end lilypond
 

+Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c'' {
+  \time 4/4
+  \key g \major
+  g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
+@end lilypond
+
+Simple quintuple meter (B. Marcello, 1686-1739):
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c'' {
+  \time 5/4
+  \key c \major
+  r4 cis8 bis ais4 dis c8 ais |
+  aes4 bes8 aes ges4 aes f8 es \bar "||"}
+@end lilypond
+
+Compound duple meter (unknown):
+

 @lilypond[fragment,line-width=13.0\cm]
 \relative c' {
   \time 6/8
   \key f \major
 @lilypond[fragment,line-width=13.0\cm]
 \relative c' {
   \time 6/8
   \key f \major

-  f8 f f f a16 g a f |
-  c'8 c c c e16 d e c \bar "||"}
+  f8 f g a bes16 a g f |
+  g8 g bes a c16 a bes g
+  \bar "||"}

 @end lilypond
 
 @end lilypond
 

+Compound triple meter (J.S. Bach, 1685-1750):
+

 @lilypond[fragment,line-width=13.0\cm]
 @lilypond[fragment,line-width=13.0\cm]

-\relative c'' {
-  \time 5/4
-  \key g \major
-  d4 b8 g b d d c a4 |
-  g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
+\relative c' {
+  \time 9/8
+  \key f \major
+  r8 g( a) b( d c) c( e d) |
+  d( c fis) g( d b) g( a b)
+  \bar "||"}
+@end lilypond
+
+Compound quadruple meter (P. Yon, 1886-1943):
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c' {
+  \time 12/8
+  \key e \major
+  b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
+  e4 e8 fis( gis) a b4.~ b4 b8
+  \bar "||"}

 @end lilypond
 
 @end lilypond
 

+@seealso
+
+@ref{hemiola}, @ref{time signature}
+

 
 @node metronome
 @section metronome
 
 @node metronome
 @section metronome


@@ -3937,13 +4502,28 @@ FI: metronomi.
 
 Device indicating the exact tempo of a piece.
 
 
 Device indicating the exact tempo of a piece.
 

-@ref{metronomic
-indication}.
+Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
+from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
+divisions, and patented it as a "metronome".  The inevitable lawsuit that
+followed acknowledged Winkler as the creator, but by then Mälzel had already
+sold many of them, and people had taken to calling it a Mälzel Metronome.
+
+@seealso
+
+@ref{metronome mark}.

 
 
 @node metronomic indication
 @section metronomic indication
 
 
 
 @node metronomic indication
 @section metronomic indication
 

+@seealso
+
+@ref{metronome mark}
+
+
+@node metronome mark
+@section metronome mark
+

 ES: indicación metronómica,
 I: indicazione metronomica,
 F: indication métronomique,
 ES: indicación metronómica,
 I: indicazione metronomica,
 F: indication métronomique,


@@ -3953,8 +4533,13 @@ DK: metronomtal,
 S: metronomangivelse,
 FI: metronomiosoitus.
 
 S: metronomangivelse,
 FI: metronomiosoitus.
 

-Exact tempo indication (in beats per minute).  Also denoted by
-M.M.@: (Mälzels Metronom).
+Exact tempo indication (in beats per minute).  Abbreviated @samp{M.M.} or
+@samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
+@emph{anglice}).
+
+@seealso
+
+@ref{metronome}

 
 
 @node mezzo-soprano
 
 
 @node mezzo-soprano


@@ -4037,7 +4622,7 @@ FI: pieni intervalli.
 ES: modo,
 I: modo,
 F: mode,
 ES: modo,
 I: modo,
 F: mode,

-D: Modus,
+D: Kirchentonart, Modus,

 NL: modus,
 DK: skala,
 S: modus, skala,
 NL: modus,
 DK: skala,
 S: modus, skala,


@@ -4060,10 +4645,9 @@ DK: modulation,
 S: modulering,
 FI: modulaatio, sävellajin vaihdos.
 
 S: modulering,
 FI: modulaatio, sävellajin vaihdos.
 

-Moving from one @ref{key} to another.  For example, the second
-subject of a @ref{sonata form} movement modulates to the dominant
-key if the key is major and to the @ref{relative key} if the key
-is minor.
+Moving from one @ref{key} to another.  For example, the second subject
+of a @ref{sonata form} movement modulates to the dominant key if the
+key is major and to the @ref{relative key} if the key is minor.

 
 
 @node mordent
 
 
 @node mordent


@@ -4102,8 +4686,8 @@ DK: motiv,
 S: motiv,
 FI: teema, sävelaihe.
 
 S: motiv,
 FI: teema, sävelaihe.
 

-The briefest intelligible and self-contained fragment of a musical theme or
-subject.
+The briefest intelligible and self-contained fragment of a musical
+theme or subject.

 
 @lilypond[line-width=13.0\cm]
 \score{
 
 @lilypond[line-width=13.0\cm]
 \score{


@@ -4136,9 +4720,9 @@ DK: sats,
 S: sats,
 FI: osa.
 
 S: sats,
 FI: osa.
 

-Greater musical works like @ref{symphony} and
-@ref{sonata} most often consist of several -- more or less --
-independant pieces called movements.
+Greater musical works like @ref{symphony} and @ref{sonata} most often
+consist of several -- more or less -- independant pieces called
+movements.

 
 
 @node multi-measure rest
 
 
 @node multi-measure rest


@@ -4153,11 +4737,11 @@ DK: flertaktspause,
 S: flertaktspaus,
 FI: usean tahdin mittainen tauko.
 
 S: flertaktspaus,
 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 measures)
-of the rest. The former style is called @q{Kirchenpausen} in German, as a
-reminiscence of its use in Renaissance vocal polyphony. 
+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
+German, as a reminiscence of its use in Renaissance vocal polyphony.

 
 @lilypond[fragment,ragged-right]
 \relative c'' {
 
 @lilypond[fragment,ragged-right]
 \relative c'' {


@@ -4169,6 +4753,9 @@ reminiscence of its use in Renaissance vocal polyphony.
 }
 @end lilypond
 
 }
 @end lilypond
 

+@seealso
+
+@ref{longa}, @ref{breve}.

 
 
 @node mixolydian mode
 
 
 @node mixolydian mode


@@ -4179,8 +4766,8 @@ reminiscence of its use in Renaissance vocal polyphony.
 @ref{diatonic scale}.
 
 
 @ref{diatonic scale}.
 
 

-@node natural sign
-@section natural sign
+@node natural
+@section natural

 
 ES: becuadro,
 I: bequadro,
 
 ES: becuadro,
 I: bequadro,


@@ -4201,7 +4788,8 @@ FI: palautusmerkki.
 
 @seealso
 
 
 @seealso
 

-@ref{appoggiatura}.
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
+@ref{ornament}.

 
 
 @node ninth
 
 
 @node ninth


@@ -4268,6 +4856,14 @@ instruments (often having no defined pitch) the note head may indicate the
 instrument.
 
 
 instrument.
 
 

+@node note names
+@section note names
+
+@seealso
+
+@ref{Pitch names}
+
+

 @node note value
 @section note value
 
 @node note value
 @section note value
 


@@ -4286,7 +4882,7 @@ called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
 double-length note value @emph{longa} or the quadruple-length note
 value @emph{maxima} are used.
 
 double-length note value @emph{longa} or the quadruple-length note
 value @emph{maxima} are used.
 

-@c TODO -- add maxima to this example
+@c TODO -- add maxima to this example, in a way that doesn't break it.

 
 @lilypond[fragment,notime,line-width=13.0\cm]
 %\override Score.TextScript #'font-style = #'large
 
 @lilypond[fragment,notime,line-width=13.0\cm]
 %\override Score.TextScript #'font-style = #'large


@@ -4346,9 +4942,71 @@ dotted notes are also frequently used.
 @end lilypond
 
 
 @end lilypond
 
 

+@node octavation
+@section octavation
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The use of a phrase or abbreviation with an extender line or bracket to indicate
+that a passage is to be played in a different octave:
+
+@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}
+
+@end itemize
+
+Another practice, which may be useful for longer passages, is to indicate the
+different octave with a phrase at the beginning (see below).  When the music
+returns to the written pitch, the octavation is cancelled with the word
+@emph{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)}
+
+@end itemize
+
+@emph{Quindicesima} can be replaced with @emph{quindecima}, which is Latin.
+
+@seealso
+
+@ref{interval}, @ref{loco}, @ref{octave}.
+
+

 @node octave sign
 @section octave sign
 
 @node octave sign
 @section octave sign
 

+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Putting 8 or 15 above or below the clef to indicate that the entire part is
+played in the indicated octave: a clef-wide octavation.  An octave sign can be
+applied to any clef, though it is most frequently used with the G and F clefs.
+

 @seealso
 
 @ref{G clef}, @ref{F clef}.
 @seealso
 
 @ref{G clef}, @ref{F clef}.


@@ -4366,9 +5024,14 @@ DK: oktav,
 S: oktav,
 FI: oktaavi.
 
 S: oktav,
 FI: oktaavi.
 

+The interval of an octave, sometimes abbreviated @samp{8ve}.
+
+For uses like @emph{all'ottava} or @emph{8va} with an extender line or
+bracket, or @samp{loco} see octavation.
+

 @seealso
 
 @seealso
 

-@ref{interval}.
+@ref{interval}, @ref{octavation}.

 
 
 @node ornament
 
 
 @node ornament


@@ -4429,7 +5092,7 @@ the
 
 @seealso
 
 
 @seealso
 

-@ref{appoggiatura}.
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.

 
 
 @node ossia
 
 
 @node ossia


@@ -4461,9 +5124,19 @@ DK: stemme,
 S: stämma,
 FI: stemma, instrumenttiosuus.
 
 S: stämma,
 FI: stemma, instrumenttiosuus.
 

-1.@tie{}In instrumental or choral music the music for the single instrument
-or voice.  2.@tie{}in contrapuntal music @ref{counterpoint} the single
-melodic line of the contrapunctal web.
+@itemize
+
+@item In instrumental or choral music, the music for a single
+instrument or voice.
+
+@item in contrapuntal music, a single melodic line in the contrapuntal
+web.
+
+@end itemize
+
+@seealso
+
+@ref{counterpoint}

 
 
 @node pause
 
 
 @node pause


@@ -4607,7 +5280,68 @@ DK: pizzicato,
 S: pizzicato,
 FI: pizzicato, näppäillen.
 
 S: pizzicato,
 FI: pizzicato, näppäillen.
 

-Play by plucking the strings.
+Abbr. @emph{pizz}. Play by plucking the strings. (Technique for
+stringed instruments.)
+
+
+@node polymeter
+@section polymeter
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The simultaneous use of two or more meters.  The term is sometimes
+applied to the @emph{successive} use of different meters in one or
+more parts.
+
+@seealso
+
+@ref{polymetric} (adj.)
+
+
+@node polymetric
+@section polymetric
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Using two or more metric frameworks simultaneously or in regular
+alternation
+
+@seealso
+
+@ref{polymeter} (noun)
+
+
+@node polymetric time signature
+@section polymetric time signature
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Time signature indicating regularly alternating polymetric time.
+
+@seealso
+
+@ref{polymetric}.

 
 
 @node polyphony
 
 
 @node polyphony


@@ -4622,8 +5356,8 @@ DK: polyfoni,
 S: polyfoni,
 FI: polyfonia, moniäänisyys.
 
 S: polyfoni,
 FI: polyfonia, moniäänisyys.
 

-Music written in a combination of several simultaneous voices (parts) of a
-more or less pronounced individuality.
+Music written in a combination of several simultaneous voices (parts)
+of a more or less pronounced individuality.

 
 @ref{counterpoint}.
 
 
 @ref{counterpoint}.
 


@@ -4652,6 +5386,30 @@ Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
 denotes the highest possible degree of speed.
 
 
 denotes the highest possible degree of speed.
 
 

+@node proportion
+@section proportion
+
+ES: proporción,
+I: ?,
+F: proportion,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Latin @emph{proportio}]  In mensural notation, a ratio that
+expresses the relationship between the note values that follow with
+those that precede; or between the note values of a passage and an
+assumed @q{normal} relationship of note values to the metrical pulse.
+
+@c TODO: add an example or two.  O => 4/3, and its modern equivalent
+
+@seealso
+
+@ref{mensural notation}
+
+

 @node Pythagorean comma
 @section Pythagorean comma
 
 @node Pythagorean comma
 @section Pythagorean comma
 


@@ -4691,10 +5449,10 @@ FI: kvartoli.
 @node quarter note
 @section quarter note
 
 @node quarter note
 @section quarter note
 

+UK: crotchet,

 ES: negra,
 I: semiminima, nera,
 F: noire,
 ES: negra,
 I: semiminima, nera,
 F: noire,

-UK: crotchet,

 D: Viertel, Viertelnote,
 NL: kwartnoot,
 DK: fjerdedelsnode,
 D: Viertel, Viertelnote,
 NL: kwartnoot,
 DK: fjerdedelsnode,


@@ -4709,10 +5467,10 @@ FI: neljännesosanuotti.
 @node quarter rest
 @section quarter rest
 
 @node quarter rest
 @section quarter rest
 

+UK: crotchet rest,

 ES: silencio de negra,
 I: pausa di semiminima,
 F: soupir,
 ES: silencio de negra,
 I: pausa di semiminima,
 F: soupir,

-UK: crotchet rest,

 D: Viertelpause,
 NL: kwart rust,
 DK:@w{ }fjerdedelspause,
 D: Viertelpause,
 NL: kwart rust,
 DK:@w{ }fjerdedelspause,


@@ -4724,6 +5482,25 @@ FI: neljännesosatauko.
 @ref{note value}.
 
 
 @ref{note value}.
 
 

+@node quarter tone
+@section quarter tone
+
+ES: ?,
+I: ?,
+F: quart de ton,
+D: Viertelton,
+NL: kwart toon,
+DK: ?,
+S: kvartston,
+FI: ?.
+
+An interval equal to half a semitone.
+
+@seealso
+
+@ref{interval}
+
+

 @node quintuplet
 @section quintuplet
 
 @node quintuplet
 @section quintuplet
 


@@ -4812,9 +5589,6 @@ FI: toisto.
 }
 @end lilypond
 
 }
 @end lilypond
 

-@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
-@c     specify the rest's value.
-

 
 @node rest
 @section rest
 
 @node rest
 @section rest


@@ -4828,6 +5602,9 @@ DK: pause,
 S: paus,
 FI: tauko.
 
 S: paus,
 FI: tauko.
 

+@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
+@c     specify the rest's value.
+

 @seealso
 
 @ref{note value}.
 @seealso
 
 @ref{note value}.


@@ -4862,14 +5639,13 @@ metrical unit (beat).
 @end itemize
 
 
 @end itemize
 
 

-

 @node ritardando
 @section ritardando
 
 ES: ritardando,
 I: ritardando,
 F: ritardando,
 @node ritardando
 @section ritardando
 
 ES: ritardando,
 I: ritardando,
 F: ritardando,

-D: Ritardando, langsamer werden,
+D: ritardando, langsamer werden,

 NL: ritardando,
 DK: ritardando,
 S: ritardando,
 NL: ritardando,
 DK: ritardando,
 S: ritardando,


@@ -4884,7 +5660,7 @@ Gradually slackening in speed.  Mostly abbreviated to rit.@: or ritard.
 ES: ritenuto,
 I: ritenuto,
 F: ritenuto,
 ES: ritenuto,
 I: ritenuto,
 F: ritenuto,

-D: Ritenuto,
+D: ritenuto,

 NL: ritenuto,
 DK: ritenuto,
 S: ritenuto,
 NL: ritenuto,
 DK: ritenuto,
 S: ritenuto,


@@ -4950,7 +5726,7 @@ scale as roots of chords.  The most important are degrees I = tonic
 ES: ?,
 I: scordatura,
 F: à cordes ravallées,
 ES: ?,
 I: scordatura,
 F: à cordes ravallées,

-D: ?,
+D: Skordatur,

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


@@ -5004,7 +5780,7 @@ one underneath the other on different staves @ref{staff}.
 ES: segunda,
 I: secunda,
 F: seconde,
 ES: segunda,
 I: secunda,
 F: seconde,

-D: Sekund(a),
+D: Sekunde,

 NL: secunde,
 DK: sekund,
 S: sekund,
 NL: secunde,
 DK: sekund,
 S: sekund,


@@ -5062,7 +5838,7 @@ FI: septimi.
 
 @seealso
 
 
 @seealso
 

-@ref{sextuplet}
+@ref{sextuplet}, @ref{note value}.

 
 
 @node sextuplet
 
 
 @node sextuplet


@@ -5107,21 +5883,33 @@ FI: korotusmerkki.
 @ref{accidental}.
 
 
 @ref{accidental}.
 
 

-@node short appoggiatura
-@section short appoggiatura
+@node simple meter
+@section simple meter
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+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.

 
 @seealso
 
 
 @seealso
 

-@ref{appoggiatura}.
+@ref{compound meter}, @ref{meter}.

 
 
 @node sixteenth note
 @section sixteenth note
 
 
 
 @node sixteenth note
 @section sixteenth note
 

+UK: semiquaver,

 ES: semicorchea,
 I: semicroma,
 F: double croche,
 ES: semicorchea,
 I: semicroma,
 F: double croche,

-UK: semiquaver,

 D: Sechzehntel, Sechzehntelnote,
 NL: zes@-ti@-ende noot,
 DK: sekstendedelsnode,
 D: Sechzehntel, Sechzehntelnote,
 NL: zes@-ti@-ende noot,
 DK: sekstendedelsnode,


@@ -5136,10 +5924,10 @@ FI: kuudestoistaosanuotti.
 @node sixteenth rest
 @section sixteenth rest
 
 @node sixteenth rest
 @section sixteenth rest
 

+UK: semiquaver rest,

 ES: silencio de semicorchea,
 I: pausa di semicroma,
 F: quart de soupir,
 ES: silencio de semicorchea,
 I: pausa di semicroma,
 F: quart de soupir,

-UK: semiquaver rest,

 D: Sechzehntelpause,
 NL: zestiende rust,
 DK: sekstendedelspause,
 D: Sechzehntelpause,
 NL: zestiende rust,
 DK: sekstendedelspause,


@@ -5171,10 +5959,10 @@ FI: seksti.
 @node sixty-fourth note
 @section sixty-fourth note
 
 @node sixty-fourth note
 @section sixty-fourth note
 

+UK: hemidemisemiquaver,

 ES: semifusa,
 I: semibiscroma,
 F: quadruple croche,
 ES: semifusa,
 I: semibiscroma,
 F: quadruple croche,

-UK: hemidemisemiquaver,

 D: Vierundsechzigstel, Vierundsechzigstelnote,
 NL: vierenzestigste noot,
 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
 D: Vierundsechzigstel, Vierundsechzigstelnote,
 NL: vierenzestigste noot,
 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,


@@ -5189,10 +5977,10 @@ FI: kuudeskymmenesneljäsosanuotti.
 @node sixty-fourth rest
 @section sixty-fourth rest
 
 @node sixty-fourth rest
 @section sixty-fourth rest
 

+UK: hemidemisemiquaver rest,

 ES: silencio de semifusa,
 I: pausa di semibiscroma,
 F: seizième de soupir,
 ES: silencio de semifusa,
 I: pausa di semibiscroma,
 F: seizième de soupir,

-UK: hemidemisemiquaver rest,

 D: Vierundsechzigstelpause,
 NL: vierenzestigste rust,
 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
 D: Vierundsechzigstelpause,
 NL: vierenzestigste rust,
 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,


@@ -5204,14 +5992,13 @@ FI: kuudeskymmenesneljäsosatauko.
 @ref{note value}.
 
 
 @ref{note value}.
 
 

-

 @node slur
 @section slur
 
 ES: ligadura (de expresión),
 I: legatura (di portamento or espressiva),
 F: liaison, coulé,
 @node slur
 @section slur
 
 ES: ligadura (de expresión),
 I: legatura (di portamento or espressiva),
 F: liaison, coulé,

-D: Bogen, Legatobogen, Phrasierungsbogen,
+D: Bogen (Legatobogen, Phrasierungsbogen),

 NL: fraseringsboog, legatoboog, streekboog,
 DK: legatobue, fraseringsbue,
 S: båge,
 NL: fraseringsboog, legatoboog, streekboog,
 DK: legatobue, fraseringsbue,
 S: båge,


@@ -5222,7 +6009,6 @@ played @ref{legato}, e.g., with one stroke of the violin bow or with
 one breath in singing.
 
 
 one breath in singing.
 
 

-

 @node solmization
 @section solmization
 
 @node solmization
 @section solmization
 


@@ -5243,7 +6029,6 @@ General term for systems of designating the degrees of the
 @ref{scale degree}.
 
 
 @ref{scale degree}.
 
 

-

 @node sonata
 @section sonata
 
 @node sonata
 @section sonata
 


@@ -5318,7 +6103,7 @@ The highest female voice.
 ES: picado,
 I: staccato,
 F: staccato, piqué, détaché,
 ES: picado,
 I: staccato,
 F: staccato, piqué, détaché,

-D: Staccato,
+D: staccato,

 NL: staccato,
 DK: staccato,
 S: staccato,
 NL: staccato,
 DK: staccato,
 S: staccato,


@@ -5344,15 +6129,15 @@ below the note head.
 ES: pentagrama,
 I: pentagramma, rigo (musicale),
 F: portée,
 ES: pentagrama,
 I: pentagramma, rigo (musicale),
 F: portée,

-D: Notenzeile,
+D: Notensystem, Notenzeile,

 NL: (noten)balk, partij,
 DK: nodesystem,
 S: notsystem,
 FI: nuottiviivasto.
 
 NL: (noten)balk, partij,
 DK: nodesystem,
 S: notsystem,
 FI: nuottiviivasto.
 

-A staff (pl. staves) is a series of (normally five) horizontal lines
-upon and between which the musical notes are written, thus indicating
-(in connection with a @ref{clef}) their pitch.  Staves for
+A staff (plural: staves) is a series of (normally five) horizontal
+lines upon and between which the musical notes are written, thus
+indicating (in connection with a @ref{clef}) their pitch.  Staves for

 @ref{percussion} instruments may have fewer lines.
 
 
 @ref{percussion} instruments may have fewer lines.
 
 


@@ -5481,7 +6266,7 @@ The seventh @ref{scale degree}.
 ES: sobre la G,
 I: sul g,
 F: sur la G,
 ES: sobre la G,
 I: sul g,
 F: sur la G,

-D: ?,
+D: auf G, auf der G-Saite,

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


@@ -5566,7 +6351,6 @@ contradiction between the underlaying (normal) pulse and the actual
 @end lilypond
 
 
 @end lilypond
 
 

-

 @node syntonic comma
 @section syntonic comma
 
 @node syntonic comma
 @section syntonic comma
 


@@ -5584,14 +6368,13 @@ Difference between the natural third and the third obtained by
 Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
 
 
 Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
 
 

-

 @node system
 @section system
 
 ES: sistema,
 I: accollatura,
 F: système,
 @node system
 @section system
 
 ES: sistema,
 I: accollatura,
 F: système,

-D: Notensystem,
+D: Notensystem, Partitur,

 NL: systeem,
 DK: system,
 S: system,
 NL: systeem,
 DK: system,
 S: system,


@@ -5601,7 +6384,6 @@ The collection of staves (@ref{staff}), two or more, as used for writing
 down of keyboard, chamber, choral, or orchestral music.
 
 
 down of keyboard, chamber, choral, or orchestral music.
 
 

-

 @node temperament
 @section temperament
 
 @node temperament
 @section temperament
 


@@ -5706,10 +6488,10 @@ FI: terssi.
 @node thirty-second note
 @section thirty-second note
 
 @node thirty-second note
 @section thirty-second note
 

+UK: demisemiquaver,

 ES: fusa,
 I: biscroma,
 F: triple croche,
 ES: fusa,
 I: biscroma,
 F: triple croche,

-UK: demisemiquaver,

 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
 NL: twee-endertig@-ste noot,
 DK: toogtredivtedelsnode,
 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
 NL: twee-endertig@-ste noot,
 DK: toogtredivtedelsnode,


@@ -5724,10 +6506,10 @@ FI: kolmanneskymmeneskahdesosanuotti.
 @node thirty-second rest
 @section thirty-second rest
 
 @node thirty-second rest
 @section thirty-second rest
 

+UK: demisemiquaver rest,

 ES: silencio de fusa,
 I: pausa di biscroma,
 F: huitième de soupir,
 ES: silencio de fusa,
 I: pausa di biscroma,
 F: huitième de soupir,

-UK: demisemiquaver rest,

 D: Zweiunddreissigstel@-pause,
 NL: 32e rust,
 DK: toogtredivtedelspause,
 D: Zweiunddreissigstel@-pause,
 NL: 32e rust,
 DK: toogtredivtedelspause,


@@ -5787,7 +6569,7 @@ together with figures designating the chief @ref{interval}s and
 ES: ligadura de prolongación,
 I: legatura (di valore),
 F: liaison,
 ES: ligadura de prolongación,
 I: legatura (di valore),
 F: liaison,

-D: Haltebogen,
+D: Haltebogen, Bindebogen,

 NL: overbinding, bindingsboog,
 DK: bindebue,
 S: bindebåge, överbindning,
 NL: overbinding, bindingsboog,
 DK: bindebue,
 S: bindebåge, överbindning,


@@ -5824,9 +6606,13 @@ DK: taktangivelse,
 S: taktartssignatur,
 FI: tahtiosoitus.
 
 S: taktartssignatur,
 FI: tahtiosoitus.
 

+The sign placed at the beginning of a composition to indicate its
+meter.  It most often takes the form of a fraction, but a few signs
+derived from mensural notation and proportions are also employed.
+

 @seealso
 
 @seealso
 

-@ref{meter}.
+@ref{mensural notation}, @ref{meter}.

 
 
 @node tone
 
 
 @node tone


@@ -5866,6 +6652,41 @@ The first @ref{scale degree}.
 @ref{functional harmony}.
 
 
 @ref{functional harmony}.
 
 

+@node transposing instrument
+@section transposing instrument
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+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
+reduce the number of ledger lines needed), most such instruments are identified
+by the letter name of the pitch class of their fundamental.  The pitch class is
+the note that @emph{sounds} (disregarding the octave in which it sounds) when
+the instrument plays a notated C.
+
+For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
+the B-flat one tone lower.  If played on the A clarinet, the same written
+note sounds the A (one and half tones -- a minor third -- lower).
+
+Not all transposing instruments include the pitch class in their name:
+
+@itemize
+@item English horn (in F)
+@item Alto flute (in G)
+@end itemize
+
+@seealso
+
+@ref{concert pitch}.
+
+

 @node transposition
 @section transposition
 
 @node transposition
 @section transposition
 


@@ -5987,7 +6808,7 @@ FI: trilli.
 ES: compás ternario,
 I: tempo ternario,
 F: mesure ternaire,
 ES: compás ternario,
 I: tempo ternario,
 F: mesure ternaire,

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

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


@@ -6049,6 +6870,18 @@ forks give the international pitch for the tone @emph{a} (440
 vibrations per second).
 
 
 vibrations per second).
 
 

+@node tuplet
+@section tuplet
+
+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.
+
+@seealso
+
+@ref{triplet}, @ref{note value}.
+
+

 @node turn
 @section turn
 
 @node turn
 @section turn
 


@@ -6112,9 +6945,14 @@ DK: stemme,
 S: stämma,
 FI: ääni, lauluääni.
 
 S: stämma,
 FI: ääni, lauluääni.
 

-1.@tie{}Human voices: @ref{soprano}, @ref{mezzo-soprano},
+@itemize
+
+@item Human voices: @ref{soprano}, @ref{mezzo-soprano},

 @ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}.
 @ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}.

-2.@tie{}A melodic layer or part of a polyphonic composition.
+
+@item A melodic layer or part of a polyphonic composition.
+
+@end itemize

 
 
 @node weak beat
 
 
 @node weak beat


@@ -6137,10 +6975,10 @@ FI: tahdin heikko isku.
 @node whole note
 @section whole note
 
 @node whole note
 @section whole note
 

+UK: semibreve,

 ES: redonda,
 I: semibreve,
 F: ronde,
 ES: redonda,
 I: semibreve,
 F: ronde,

-UK: semibreve,

 D: Ganze, ganze Note,
 NL: hele noot,
 DK: helnode,
 D: Ganze, ganze Note,
 NL: hele noot,
 DK: helnode,


@@ -6155,10 +6993,10 @@ FI: kokonuotti.
 @node whole rest
 @section whole rest
 
 @node whole rest
 @section whole rest
 

+UK: semibreve rest,

 ES: silencio de redonda,
 I: pausa di semibreve,
 F: pause,
 ES: silencio de redonda,
 I: pausa di semibreve,
 F: pause,

-UK: semibreve rest,

 D: ganze Pause, ganztaktige Pause,
 NL: hele rust,
 DK: helnodespause,
 D: ganze Pause, ganztaktige Pause,
 NL: hele rust,
 DK: helnodespause,


@@ -6170,7 +7008,6 @@ FI: kokotauko.
 @ref{note value}.
 
 
 @ref{note value}.
 
 

-

 @node whole tone
 @section whole tone
 
 @node whole tone
 @section whole tone
 


@@ -6188,8 +7025,6 @@ on the piano keyboard with exactly one key between them -- including
 black and white keys -- is a whole tone.
 
 
 black and white keys -- is a whole tone.
 
 

-
-

 @node woodwind
 @section woodwind
 
 @node woodwind
 @section woodwind
 


@@ -6208,216 +7043,260 @@ commonly used in a symphony orchestra are flute, oboe, clarinet,
 saxophone, and bassoon.
 
 
 saxophone, and bassoon.
 
 

-
-

 @node Duration names notes and rests
 @node Duration names notes and rests

-@chapter Duration names, notes and rests
+@chapter Duration names notes and rests

 
 

-@table @code
-@item DURATION NAMES, NOTES AND RESTS
-@end table
-
-@multitable @columnfractions .15 .26 .33 .26
-
-@item
-  @tab @strong{UK}
-  @tab @strong{I}
-  @tab @strong{F (note name / rest name)}
-@item
-  @tab @strong{D}
-  @tab @strong{NL}
-  @tab @strong{DK}
-@item
-  @tab @strong{S}
-  @tab @strong{FI}
-  @tab @strong{ES}
-
-@c extra @items make this table harder to read, so I removed them.
+@multitable @columnfractions .07 .23 .23 .23 .24

 
 

-@item @strong{longa}
-  @tab longa
-  @tab longa
-  @tab longa
-@item
-  @tab Longa
-  @tab longa
-  @tab longa
-@item
+@headitem @strong{US}
+  @tab long
+  @tab breve
+  @tab whole
+  @tab half
+@item @strong{UK}

   @tab longa
   @tab longa

+  @tab breve
+  @tab semibreve
+  @tab minim
+@item @strong{ES}

   @tab longa
   @tab longa

+  @tab cuadrada
+  @tab redonda
+  @tab blanca
+@item @strong{IT}

   @tab longa
   @tab longa

-
-@item @strong{breve}
-  @tab breve

   @tab breve
   @tab breve

+  @tab semibreve
+  @tab minima
+@item @strong{FR}
+  @tab longa

   @tab brève / double-pause
   @tab brève / double-pause

-@item
-  @tab Brevis
-  @tab brevis
-  @tab brevis
-@item
-  @tab brevis
-  @tab brevis
-  @tab cuadrada
-
-@item @strong{whole}
-  @tab semi@-breve
-  @tab semi@-breve

   @tab ronde / pause
   @tab ronde / pause

-@item
-  @tab Ganze
-  @tab hele
-  @tab hel
-@item
-  @tab hel
-  @tab koko@-nuotti/@w{-tauko}
-  @tab redonda
-
-@item @strong{half}
-  @tab minim
-  @tab minima

   @tab blanche / demi-pause
   @tab blanche / demi-pause

-@item
+@item @strong{DE}
+  @tab Longa
+  @tab Brevis
+  @tab Ganze

   @tab Halbe
   @tab Halbe

+@item @strong{NL}
+  @tab longa
+  @tab brevis
+  @tab hele

   @tab halve
   @tab halve

+@item @strong{DK}
+  @tab longa
+  @tab brevis
+  @tab hel

   @tab halv
   @tab halv

-@item
+@item @strong{SE}
+  @tab longa
+  @tab brevis
+  @tab hel

   @tab halv
   @tab halv

+@item @strong{FI}
+  @tab longa
+  @tab brevis
+  @tab koko@-nuotti/@w{-tauko}

   @tab puoli@-nuotti/@w{-tauko}
   @tab puoli@-nuotti/@w{-tauko}

-  @tab blanca

 
 

-@item @strong{quarter}
-  @tab crotchet
-  @tab semiminima
-  @tab noire / soupir
-@item
-  @tab Viertel
-  @tab kwart
-  @tab fjerdedel
-@item
-  @tab fjärdedel
-  @tab neljännesosa@-nuotti/@w{-tauko}
-  @tab negra
+@end multitable

 
 

-@item @strong{eighth}
+@multitable @columnfractions .07 .31 .31 .31
+
+@headitem @strong{US}
+  @tab quarter
+  @tab eighth
+  @tab sixteenth
+@item @strong{UK}
+  @tab crotchet

   @tab quaver
   @tab quaver

+  @tab semiquaver
+@item @strong{ES}
+  @tab negra
+  @tab corchea
+  @tab semicorchea
+@item @strong{IT}
+  @tab semiminima

   @tab croma
   @tab croma

+  @tab semicroma
+@item @strong{FR}
+  @tab noire / soupir

   @tab croche / demi-soupir
   @tab croche / demi-soupir

-@item
+  @tab double* croche / quart de soupir
+@item @strong{DE}
+  @tab Viertel

   @tab Achtel
   @tab Achtel

-  @tab achtste
-  @tab ottendedel
-@item
-  @tab åttondel
-  @tab kahdeksasosa@-nuotti/@w{-tauko}
-  @tab corchea
-
-@item @strong{sixteenth}
-  @tab semiquaver
-  @tab semicroma
-  @tab double croche / quart de soupir
-@item

   @tab Sechzehntel
   @tab Sechzehntel

+@item @strong{NL}
+  @tab kwart
+  @tab achtste

   @tab zestiende
   @tab zestiende

+@item @strong{DK}
+  @tab fjerdedel
+  @tab ottendedel

   @tab sekstendedel
   @tab sekstendedel

-@item
+@item @strong{SE}
+  @tab fjärdedel
+  @tab åttondel

   @tab sextondel
   @tab sextondel

+@item @strong{FI}
+  @tab neljännesosa@-nuotti/@w{-tauko}
+  @tab kahdeksasosa@-nuotti/@w{-tauko}

   @tab kuudestoistaosa@-nuotti/@w{-tauko}
   @tab kuudestoistaosa@-nuotti/@w{-tauko}

-  @tab semicorchea

 
 

-@item @strong{thirty-second}
-  @tab demisemiquaver
-  @tab biscroma
-  @tab triple croche / huitième de soupir
-@item
-  @tab Zweiunddreissigstel
-  @tab tweeendertigste
-  @tab toogtredivtedel
-@item
-  @tab trettiotvåondel
-  @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
-  @tab fusa
+@end multitable
+
+* About the French naming system: the word @emph{croche} refers to the
+note's "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 @emph{soupir}, or quarter rest.  Subsequent
+rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
+a @emph{soupir}, and so on.

 
 

-@item @strong{sixty-fourth}
+@multitable @columnfractions .07 .46 .47
+
+@headitem @strong{US}
+  @tab thirty-second
+  @tab sixty-fourth
+@item @strong{UK}
+  @tab demisemiquaver

   @tab hemidemisemiquaver
   @tab hemidemisemiquaver

+@item @strong{ES}
+  @tab fusa*
+  @tab semifusa
+@item @strong{IT}
+  @tab biscroma

   @tab semibiscroma
   @tab semibiscroma

+@item @strong{FR} 
+  @tab triple croche / huitième de soupir

   @tab quadruple croche / seizième de soupir
   @tab quadruple croche / seizième de soupir

-@item
+@item @strong{DE} 
+  @tab Zweiunddreissigstel

   @tab Vierundsechzigstel
   @tab Vierundsechzigstel

+@item @strong{NL} 
+  @tab tweeendertigste

   @tab vierenzestigste
   @tab vierenzestigste

+@item @strong{DK} 
+  @tab toogtredivtedel

   @tab fireogtred@-sindstyvendedel
   @tab fireogtred@-sindstyvendedel

-@item
+@item @strong{SE} 
+  @tab trettiotvåondel

   @tab sextiofjärdedel
   @tab sextiofjärdedel

+@item @strong{FI}
+  @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}

   @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
   @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}

-  @tab semifusa

 
 @end multitable
 
 
 @end multitable
 

+@multitable @columnfractions .07 .46 .47

 
 

+@headitem @strong{US}  @tab one-hundred-twenty-eighth
+  @tab two-hundred-fifty-sixth@item @strong{UK}
+  @tab semihemidemisemiquaver or
+       quasihemidemisemiquaver  @tab demisemihemidemisemiquaver (?)
+@item @strong{IT}
+  @tab fusa*
+  @tab semifusa
+@item @strong{ES} 
+  @tab garrapatea  @tab semigarrapatea@item @strong{FR} 
+  @tab quintuple croche / trente-deuxième de soupir  @tab sextuple croche / soixante-quatrième de soupir@item @strong{DE} 
+  @tab Hundertundachtundzwanzigstel  @tab Zweihundertundsechsundfünfzigstel@item @strong{NL} 
+  @tab ?
+  @tab ?
+@item @strong{DK} 
+  @tab ?
+  @tab ?
+@item @strong{SE} 
+  @tab ?
+  @tab ?
+@item @strong{FI}
+  @tab ?
+  @tab ?

 
 

+@end multitable

 
 

-@node Pitch names
-@chapter Pitch names
-
-@table @code
-@item PITCH NAMES
-@end table
-
-@c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
-@c the extra @item's between each row makes the table hard to read ... so I removed them
-
-@multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
-
-@c TODO -- figure out how to make _real_ table headers in TeXinfo
-
-@item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
-@tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
-
-@item @strong{c} @tab do  @tab do  @tab ut @tab C @tab c @tab c @tab c
-@tab c
-
-@item @strong{c-sharp} @tab do sostenido  @tab do diesis  @tab ut
-dièse @tab Cis  @tab cis  @tab cis  @tab cis  @tab cis
-
-@item @strong{d-flat} @tab re bemol  @tab re bemolle  @tab ré bémol 
-@tab Des @tab des  @tab des  @tab des  @tab des
-
-@item @strong{d} @tab re  @tab re  @tab ré  @tab D  @tab d  @tab d 
-@tab d  @tab d
-
-@item @strong{e-flat} @tab mi bemol  @tab mi bemolle  @tab mi bémol
-@tab Es @tab es  @tab es  @tab es  @tab es
-
-@item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e
-@tab e
-
-@item @strong{f} @tab fa  @tab fa  @tab fa @tab F @tab f @tab f @tab f
-@tab f
-
-@item @strong{g} @tab sol  @tab sol  @tab sol @tab G @tab g @tab g
-@tab g @tab g
-
-@item @strong{a-flat} @tab la bemol  @tab la bemolle  @tab la bémol
-@tab As @tab as  @tab as  @tab as  @tab as
+* The terms @emph{fusa} and @emph{semifusa}, which derive from mensural notation
+(q.v), are used as note durations by the Italians and the Spanish, but for notes
+of different durations.

 
 

-@item @strong{a} @tab la  @tab la  @tab la @tab A @tab a @tab a @tab a
-@tab a
+@seealso

 
 

-@item @strong{a-sharp} @tab la sostenido  @tab la diesis  @tab la
-dièse @tab Ais  @tab ais  @tab ais  @tab ais  @tab ais
+@ref{mensural notation}

 
 

-@item @strong{b-flat} @tab si bemol  @tab si bemolle  @tab si bémol 
-@tab B @tab bes  @tab b  @tab b  @tab b

 
 

-@item @strong{b} @tab si  @tab si  @tab si @tab H @tab b @tab h @tab h
-@tab h
+@node Pitch names
+@chapter Pitch names

 
 

+@c -is/-es endings for Danish per Rune Zedeler
+@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}
+@headitem EN
+  @tab ES @tab I @tab F @tab D
+  @tab NL @tab DK @tab S @tab FI
+@item @strong{c}
+  @tab do @tab do @tab ut @tab C
+  @tab c @tab c @tab c @tab c
+@item @strong{c-sharp}
+  @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
+  @tab cis @tab cis @tab ciss @tab cis
+@item @strong{d-flat}
+  @tab re bemol @tab re bemolle @tab ré bémol @tab Des
+  @tab des @tab des @tab dess @tab des
+@item @strong{d}
+  @tab re @tab re @tab ré @tab D
+  @tab d @tab d @tab d @tab d
+@item @strong{d-sharp}
+  @tab re sostenido @tab re diesis @tab re dièse @tab Dis
+  @tab dis @tab dis @tab diss @tab dis
+@item @strong{e-flat}
+  @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
+  @tab es @tab es @tab ess @tab es
+@item @strong{e}
+  @tab mi @tab mi @tab mi @tab E
+  @tab e @tab e @tab e @tab e
+@item @strong{f-flat} = e
+  @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
+  @tab fes @tab fes @tab fess @tab fes
+@item @strong{f}
+  @tab fa @tab fa @tab fa @tab F
+  @tab f @tab f @tab f @tab f
+@item @strong{e-sharp} = f
+  @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
+  @tab eis @tab eis @tab eiss @tab eis
+@item @strong{f-sharp}
+  @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
+  @tab fis @tab fis @tab fiss @tab fis
+@item @strong{g-flat}
+  @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
+  @tab ges @tab ges @tab gess @tab ges
+@item @strong{g}
+  @tab sol @tab sol @tab sol @tab G
+  @tab g @tab g @tab g @tab g
+@item @strong{g-sharp}
+  @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
+  @tab gis @tab gis @tab giss @tab gis
+@item @strong{a-flat}
+  @tab la bemol @tab la bemolle @tab la bémol @tab As
+  @tab as @tab as @tab ass @tab as
+@item @strong{a}
+  @tab la @tab la @tab la @tab A
+  @tab a @tab a @tab a @tab a
+@item @strong{a-sharp}
+  @tab la sostenido @tab la diesis @tab la dièse @tab Ais
+  @tab ais @tab ais @tab aiss @tab ais
+@item @strong{b-flat}
+  @tab si bemol @tab si bemolle @tab si bémol @tab B
+  @tab bes @tab b @tab b @tab b
+@item @strong{b}
+  @tab si @tab si @tab si @tab H
+  @tab b @tab h @tab h @tab h

 @end multitable
 
 
 @end multitable
 
 

-
-
-

 @menu
 * Literature used::             
 @end menu
 @menu
 * Literature used::             
 @end menu


@@ -6440,6 +7319,8 @@ Edition 1974.
 
 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
 
 
 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
 

+@item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.
+

 @end itemize
 
 @bye
 @end itemize
 
 @bye