* input/regression/new-markup-scheme.ly: oops. font-family=music

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

diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely
index 3c873754850f6f9cfe55083ca0cf7fa817deaedd..2a562f63dbb53675ef428d33255dff8b6cf666b8 100644 (file)
--- a/Documentation/user/music-glossary.tely
+++ b/Documentation/user/music-glossary.tely
@@ -1,7 +1,12 @@
-\input texinfo  @c -*-texinfo-*-
+\input texinfo @c -*- coding: latin-1; mode: texinfo; -*-
+

 @settitle Music Glossary
 @setfilename music-glosssary.info
 
 @settitle Music Glossary
 @setfilename music-glosssary.info
 

+@dircategory GNU music project
+@direntry
+* Glossary: (lilypond/music-glossary).  Glossary of music terms.
+@end direntry

 
 @ifhtml
 This document is also available in @uref{music-glossary.ps.gz,gzipped
 
 @ifhtml
 This document is also available in @uref{music-glossary.ps.gz,gzipped


@@ -23,8 +28,7 @@ PostScript} and @uref{music-glossary.pdf,PDF}.
 @author Adrian Mariano      @c Italian glossary
 @author Heikki Junes        @c Finnish glossary
 
 @author Adrian Mariano      @c Italian glossary
 @author Heikki Junes        @c Finnish glossary
 

-@c Fixes by  Jean-Pierre Coulon and `Dirk'
-@c Norwegian?
+@c Fixes by Jean-Pierre Coulon and `Dirk'

 
 
 Copyright @copyright{} 1999--2004 by the authors
 
 
 Copyright @copyright{} 1999--2004 by the authors


@@ -49,8 +53,8 @@ Copyright @copyright{} 1999--2004 by the authors
 
 @ifnottex
 @node Top
 
 @ifnottex
 @node Top

-@top
-@chapter Music Glossary
+@top Music Glossary
+@c HJJ: Info needs `@top', which is a synonym for `@unnumbered' in TeX.

 @menu
 @end menu
 @end ifnottex
 @menu
 @end menu
 @end ifnottex


@@ -74,7 +78,9 @@ Dutch glossary,
 @item Mats Bengtsson
 Swedish glossary,
 @item Neil Jerram
 @item Mats Bengtsson
 Swedish glossary,
 @item Neil Jerram

-English glossary translations.
+English glossary translations,
+@item Heikki Junes
+Finnish glossary translations.

 @end table
 @*
 Copyright 1999--2004 by the authors
 @end table
 @*
 Copyright 1999--2004 by the authors


@@ -97,23 +103,14 @@ Copyright 1999--2004 by the authors
 @c @evenheading @thispage @| @|
 @c @oddheading @| @| @thispage @|
 
 @c @evenheading @thispage @| @|
 @c @oddheading @| @| @thispage @|
 

-@macro ar{}
-@iftex
-@tex $\\Rightarrow$ @end tex@c
-@end iftex
-@ifhtml
--->
-@end ifhtml
-@ifinfo
--->
-@end ifinfo
-@end macro
+@include macros.itexi
+

 
 @ignore
 We do not use refs for Info:
 
 
 @ignore
 We do not use refs for Info:
 

-   @w{@ar{}\word\}@c vs:
-   @w{@ar{}@pxref{\word\}}@c
+   @w{@arrow{}\word\}@c vs:
+   @w{@arrow{}@pxref{\word\}}@c

 
 they look too intrusive (says Han-Wen).
 @end ignore
 
 they look too intrusive (says Han-Wen).
 @end ignore


@@ -122,21 +119,27 @@ they look too intrusive (says Han-Wen).
 @c arrowref
 @macro aref{word}
 @iftex
 @c arrowref
 @macro aref{word}
 @iftex

-@w{@ar{}@strong{\word\}}@c
+@w{@arrow{}@strong{\word\}}@c

 @end iftex
 @ifhtml
 @end iftex
 @ifhtml

-@ar{}@ref{\word\, @strong{\word\}}@c
+@arrow{}@ref{\word\, @strong{\word\}}@c

 @end ifhtml 
 @ifinfo
 @end ifhtml 
 @ifinfo

-@w{@ar{}\word\}@c
+@w{@arrow{}\word\}@c

 @end ifinfo
 @end macro
 
 
 @end ifinfo
 @end macro
 
 

-@c If we want hypelinks, we must add anchors.
-@c Hmm, we need the @achor command in the item description itself
+@c If we want hyperlinks, we must add anchors.
+@c We need the @anchor command in the item description itself

 @c (not before or after) to get mozilla jump to the right place.
 @c (not before or after) to get mozilla jump to the right place.

-@c anchoritem
+@c
+@c Note that the @aitem macro and friends should always be finished
+@c with `@c' to avoid spurious spaces:
+@c
+@c  @aitem{foo}@c
+@c  blablabla
+@c

 @macro aitem{word}
 @item \word\@anchor{\word\}
 @end macro
 @macro aitem{word}
 @item \word\@anchor{\word\}
 @end macro


@@ -158,16 +161,17 @@ they look too intrusive (says Han-Wen).
 @item DK - Danish
 @item S - Swedish
 @item FI - Finnish
 @item DK - Danish
 @item S - Swedish
 @item FI - Finnish

-@item N - Norwegian

 @end itemize
 
 This is an example reference, that points you to the @aref{accent}
 entry.
 
 @end itemize
 
 This is an example reference, that points you to the @aref{accent}
 entry.
 

+@c All `@table @strong' replaced by `@table @code'
+@c @strong{note xxx} breaks for info with makeinfo CVS <= 2004-04-26

 
 

-@table @strong
+@table @code

 
 

-@aitem{A}
+@aitem{A}@c

 ES: la,
 I: la,
 F: la,
 ES: la,
 I: la,
 F: la,


@@ -175,10 +179,9 @@ D: A, a,
 NL: a,
 DK: a,
 S: a,
 NL: a,
 DK: a,
 S: a,

-FI: A, a,
-N: a.
+FI: A, a.

 
 

-@aitem{accent}
+@aitem{accent}@c

 ES: acento,
 I: accento,
 F: accent,
 ES: acento,
 I: accento,
 F: accent,


@@ -186,59 +189,56 @@ D: Akzent,
 NL: accent,
 DK: accent,
 S: accent,
 NL: accent,
 DK: accent,
 S: accent,

-FI: aksentti, korostus,
-N: ?.
+FI: aksentti, korostus.

 
 The stress of one tone over others.
 
 @c F: how to distinguish between accidental and key-sig alteration?
 
 
 The stress of one tone over others.
 
 @c F: how to distinguish between accidental and key-sig alteration?
 

-@aitem{accidental}
-ES: alteraci@'on,
+@aitem{accidental}@c
+ES: alteración,

 I: alterazione, accidente,
 I: alterazione, accidente,

-F: alt@'eration
+F: altération

 D: Vorzeichen, Versetzungszeichen,
 NL: voorteken,
 D: Vorzeichen, Versetzungszeichen,
 NL: voorteken,

-DK: l@o{}st fortegn,
-S: tillf@"alligt f@"ortecken,
-FI: tilap@"ainen etumerkki,
-N: ?.
+DK: løst fortegn,
+S: tillfälligt förtecken,
+FI: tilapäinen etumerkki.

 
 

-@c F: alt@'eration accidentelle,  D: Vorzeichen, Versetzungszeichen,
+@c F: altération accidentelle, D: Vorzeichen, Versetzungszeichen,

 @c Akzidenz, NL: toevallig teken, I: accidento.
 
 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
 by a @aref{whole tone}, a flat lowers it by a semitone and a double
 @c Akzidenz, NL: toevallig teken, I: accidento.
 
 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
 by a @aref{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
+flat lowers it by a whole tone.  A natural cancels the effect of a previous

 accidental.
 
 accidental.
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Voice.TextScript \set #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
-  gis1 s s gisis s s ges s s geses s s g!
+@lilypond[fragment,notime,linewidth=13.0\cm]
+\set Score.automaticBars = ##f
+%\override TextScript #'font-style = #'large
+\oldaddlyrics
+\context Staff \relative c'' {
+  gis1 gisis ges geses g!

 }
 \context Lyrics \lyrics {
 }
 \context Lyrics \lyrics {

-  \property Lyrics . LyricText \set #'self-alignment-X = #-1
-  "sharp  " "db. sharp  " "flat  " "db. flat  " natural
+  \override Lyrics .LyricText #'self-alignment-X = #-1
+  sharp "db. sharp" flat "db. flat" natural

 }
 @end lilypond
 
 }
 @end lilypond
 

-@aitem{accelerando}
+@aitem{accelerando}@c

 ES: acelerando,
 I: accelerando,
 ES: acelerando,
 I: accelerando,

-F: accelerando, en acc@'el@'erant,
+F: accelerando, en accélérant,

 D: accelerando, schneller werden,
 NL: accelerando,
 DK: accelerando,
 S: accelerando,
 D: accelerando, schneller werden,
 NL: accelerando,
 DK: accelerando,
 S: accelerando,

-FI: accelerando, kiihdytt@"aen,
-N: ?.
+FI: accelerando, kiihdyttäen.

 
 Increase tempo.
 
 
 Increase tempo.
 

-@aitem{adagio}
+@aitem{adagio}@c

 ES: adagio,
 I: adagio,
 F: adagio, lent,
 ES: adagio,
 I: adagio,
 F: adagio, lent,


@@ -246,60 +246,56 @@ D: Adagio, Langsam,
 NL: adagio,
 DK: adagio,
 S: adagio,
 NL: adagio,
 DK: adagio,
 S: adagio,

-FI: adagio, hitaasti,
-N: adagio.
+FI: adagio, hitaasti.

 
 

-It. comfortable, easy.
-1. Slow tempo, slower -- especially in even meter -- than
+It.@: comfortable, easy.
+1.@tie{}Slow tempo, slower -- especially in even meter -- than

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

-2. A movement in slow tempo, especially the second (slow) movement of
+2.@tie{}A movement in slow tempo, especially the second (slow) movement of

 @aref{sonata}s, symphonies, etc.
 
 @aref{sonata}s, symphonies, etc.
 

-@aitem{allegro}
+@aitem{allegro}@c

 ES: allegro,
 I: allegro,
 F: allegro,
 ES: allegro,
 I: allegro,
 F: allegro,

-D: Allegro, Schnell, Fr@"ohlich, Lustig,
+D: Allegro, Schnell, Fröhlich, Lustig,

 NL: allegro,
 DK: allegro,
 S: allegro,
 NL: allegro,
 DK: allegro,
 S: allegro,

-FI: allegro, nopeasti,
-N: allegro.
+FI: allegro, nopeasti.

 
 

-It. cheerful.  Quick tempo.  Also used as a title for pieces in a quick tempo,
-especially the first and last movements of a @aref{sonata}.
+It.@: cheerful.  Quick tempo.  Also used as a title for pieces in a quick
+tempo, especially the first and last movements of a @aref{sonata}.

 
 

-@aitem{alto}
+@aitem{alto}@c

 ES: alto,
 I: contralto,
 ES: alto,
 I: contralto,

-F: alto, D: Alt,
+F: alto,

 D: Alt,
 NL: alt,
 DK: alt,
 S: alt,
 D: Alt,
 NL: alt,
 DK: alt,
 S: alt,

-FI: altto, matala nais@"a@"ani,
-N: 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 @aref{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
+@aref{counter tenor}.

 
 

-@aitem{alto clef}
+@aitem{alto clef}@c

 ES: clave de do en tercera,
 I: chiave di contralto,
 ES: clave de do en tercera,
 I: chiave di contralto,

-F: clef d'ut troisi@`eme ligne,
-D: Altschl@"ussel, Bratschenschl@"ussel,
+F: clef d'ut troisième ligne,
+D: Altschlüssel, Bratschenschlüssel,

 NL: alt sleutel,
 NL: alt sleutel,

-DK: altn@o{}gle,
+DK: altnøgle,

 S: altklav,
 S: altklav,

-FI: alttoavain,
-N: ?.
+FI: alttoavain.

 
 

-C clef setting central C on the middle line of the staff
+C clef setting middle C on the middle line of the staff

 @aref{C clef}.
 
 @aref{C clef}.
 

-@aitem{ambitus}
+@aitem{ambit}@c

 ES: ambitus,
 I: ambitus,
 F: ambitus,
 ES: ambitus,
 I: ambitus,
 F: ambitus,


@@ -307,28 +303,30 @@ D: ambitus,
 NL: ambitus,
 DK: ambitus,
 S: ambitus,
 NL: ambitus,
 DK: ambitus,
 S: ambitus,

-FI: ambitus, @"a@"aniala, soitinala,
-N: ?.
+FI: ambitus, ääniala, soitinala.

 
 

-The term ambitus denotes a range of pitches for a given voice in a part of music. It also may denote the pitch range that a musical instrument is capable of playing.
+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.

 
 

-@aitem{ancient minor scale}
+@aitem{ancient minor scale}@c

 I: scala minore naturale,
 I: scala minore naturale,

-F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
+F: forme du mode mineur ancien, troisème mode, mode hellénique

 D: reines Moll,
 NL: authentieke mineurtoonladder,
 DK: ren mol,
 S: ren mollskala,
 D: reines Moll,
 NL: authentieke mineurtoonladder,
 DK: ren mol,
 S: ren mollskala,

-FI: luonnollinen molliasteikko,
-N: ?.
+FI: luonnollinen molliasteikko.
+
+@aref{diatonic scale} (ancient minor).

 
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-\notes\relative c'' {
+@lilypond[fragment,notime,linewidth=13.0\cm]
+\set Score.automaticBars = ##f
+\relative c'' {

 a1 b c d e f g a }
 @end lilypond
 
 a1 b c d e f g a }
 @end lilypond
 

-@aitem{andante}
+@aitem{andante}@c

 ES: andante,
 I: andante,
 F: andante,
 ES: andante,
 I: andante,
 F: andante,


@@ -336,58 +334,57 @@ D: Andante, Gehend,
 NL: andante,
 DK: andante,
 S: andante,
 NL: andante,
 DK: andante,
 S: andante,

-FI: andante, k@"ayden,
-N: andante.
+FI: andante, käyden.

 
 Walking tempo/character.
 
 
 Walking tempo/character.
 

-@aitem{appoggiatura}
+@aitem{appoggiatura}@c

 ES: apoyatura,
 I: appoggiatura,
 F: appogiature, (port de voix),
 D: Vorschlag,
 NL: voorslag,
 DK: forslag,
 ES: apoyatura,
 I: appoggiatura,
 F: appogiature, (port de voix),
 D: Vorschlag,
 NL: voorslag,
 DK: forslag,

-S: f@"orslag,
-FI: appoggiatura, etuhele,
-N: ?.
+S: förslag,
+FI: appoggiatura, etuhele.

 
 

-Ornamental note, usually a second, that is melodically connected with the main
-note that follows it.  In music before the 19th century a. were usually
+Ornamental note, usually a second, that is melodically connected with the
+main note following it.  In music before the 19th century a.@: were usually

 performed on the beat, after that mostly before the beat.  While the short
 performed on the beat, after that mostly before the beat.  While the short

-a. is performed as a short note regardless of the duration of the main note
-the duration of the long a. is proportional to that of the main note.
+a.@: is performed as a short note regardless of the duration of the main note
+the duration of the long a.@: is proportional to that of the main note.

 
 

-@lilypond
-\context Voice \notes\relative c'' {
-\key d \major
-\time 4/4
+@lilypond[linewidth=13.0\cm]
+\context Voice \relative c'' {
+  \key d \major
+  \time 4/4

 
 

-%\property Score.TextScript \set #'font-style = #'large
-<d a fis>4_"notation" r
-{ \property Voice.Stem \override #'flag-style = #'()
-  \grace g16
-  \property Voice.Stem \revert #'flag-style
-   }
-fis8 e16 fis
-{ \property Voice.Stem \override #'flag-style = #'()
-  \grace a16
-  \property Voice.Stem \revert #'flag-style
+%\override Score.TextScript #'font-style = #'large
+  <d a fis>4_"notation" r
+  { \override Stem #'flag-style = #'()
+    \grace g16
+    \revert Stem #'flag-style
+  }
+  fis8 e16 fis
+  { \override Stem #'flag-style = #'()
+    \grace a16
+    \revert Stem #'flag-style

   }
   }

-g8 fis16 g |
-\cadenzaOn a4 \bar "||" \cadenzaOff }
-\notes\relative c'' {
-<d a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
-\cadenzaOn a4 \bar "||" \cadenzaOff }
+  g8 fis16 g |
+  \cadenzaOn a4 \bar "||" \cadenzaOff
+
+  <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
+  \cadenzaOn a4 \bar "||" \cadenzaOff
+}

 @end lilypond
 
 An appoggiatura may have more notes preceding the main note.
 
 @end lilypond
 
 An appoggiatura may have more notes preceding the main note.
 

-@lilypond
-\notes\relative c'' {
+@lilypond[linewidth=13.0\cm]
+\relative c'' {

   \key as \major
   \time 2/4
   \key as \major
   \time 2/4

-%  \property Score.TextScript \set #'font-style = #'large
+%  \override Score.TextScript #'font-style = #'large

   \grace { bes16 } as8_"notation" as16 bes as8 g |
   \grace { as16[( bes] } < c as >4-)
   \grace { as16[( bes] } < c as >4-) \bar "||"
   \grace { bes16 } as8_"notation" as16 bes as8 g |
   \grace { as16[( bes] } < c as >4-)
   \grace { as16[( bes] } < c as >4-) \bar "||"


@@ -398,19 +395,18 @@ An appoggiatura may have more notes preceding the main note.
 }
 @end lilypond
 
 }
 @end lilypond
 

-@aitem{arpeggio}
+@aitem{arpeggio}@c

 ES: arpegio,
 I: arpeggio,
 ES: arpegio,
 I: arpeggio,

-F: arp@`ege,
-D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
+F: arpège,
+D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,

 NL: gebroken akoord,
 DK: arpeggio, akkordbrydning,
 S: arpeggio,
 NL: gebroken akoord,
 DK: arpeggio, akkordbrydning,
 S: arpeggio,

-FI: arpeggio, murtosointu,
-N: ?.
+FI: arpeggio, murtosointu.

 
 

-@lilypond
-\notes \context PianoStaff <<
+@lilypond[fragment,linewidth=13.0\cm]
+ \context PianoStaff <<

   \context Staff = SA \relative c'' {
     \time 4/4
     \clef treble
   \context Staff = SA \relative c'' {
     \time 4/4
     \clef treble


@@ -429,7 +425,7 @@ N: ?.
 >>
 @end lilypond
 
 >>
 @end lilypond
 

-@aitem{ascending interval}
+@aitem{ascending interval}@c

 ES: Intervalo ascendente,
 I: intervallo ascendente,
 F: intervalle ascendant,
 ES: Intervalo ascendente,
 I: intervallo ascendente,
 F: intervalle ascendant,


@@ -437,41 +433,38 @@ D: steigendes Intervall,
 NL: stijgend interval,
 DK:@w{ }stigende interval,
 S: stigande intervall,
 NL: stijgend interval,
 DK:@w{ }stigende interval,
 S: stigande intervall,

-FI: nouseva intervalli,
-N: ?.
+FI: nouseva intervalli.

 
 A distance between a starting lower note and a higher ending note.
 
 
 A distance between a starting lower note and a higher ending note.
 

-@aitem{augmented interval}
+@aitem{augmented interval}@c

 ES: intervalo aumentado,
 I: intervallo aumentato,
 ES: intervalo aumentado,
 I: intervallo aumentato,

-F: intervalle augment@'e,
-D: @"uberm@"a@ss{}iges Intervall,
+F: intervalle augmenté,
+D: übermäßiges Intervall,

 NL: overmatig interval,
 NL: overmatig interval,

-DK: forst@o{}rret interval,
-S: @"overstigande intervall,
-FI: ylinouseva intervalli,
-N: ?.
+DK: forstørret interval,
+S: överstigande intervall,
+FI: ylinouseva intervalli.

 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitem{autograph       }
+@aitem{autograph}@c

 I: autografo,
 F: manuscrit,
 D: Autograph, Handschrift,
 NL: manuscript,
 I: autografo,
 F: manuscrit,
 D: Autograph, Handschrift,
 NL: manuscript,

-DK: h@aa{}ndskrift, autograf,
+DK: håndskrift, autograf,

 S: handskrift,
 S: handskrift,

-FI: k@"asinkirjoitettu nuotti,
-N: ?.
+FI: käsinkirjoitettu nuotti.

 
 

-1. A manuscript in the composer's own hand.
-2. Music prepared for photoreproduction by freehand drawing,
-with only the aid of a straightedge ruler and T-square,
+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.
 
 which attempts to emulate engraving.
 This required more skill than did engraving.
 

-@aitem{B}
+@aitem{B}@c

 ES: si,
 I: si,
 F: si,
 ES: si,
 I: si,
 F: si,


@@ -479,13 +472,12 @@ D: H, h,
 NL: b,
 DK: h,
 S: h,
 NL: b,
 DK: h,
 S: h,

-FI: H, h,
-N: h.
+FI: H, h.

 
 

-@aitemii{backfall,forefall}
+@aitemii{backfall,forefall}@c

 @aref{appoggiatura}.
 
 @aref{appoggiatura}.
 

-@aitem{bar line}
+@aitem{bar line}@c

 ES: ?,
 I: stanghetta, barra (di divisione),
 F: barre (de mesure),
 ES: ?,
 I: stanghetta, barra (di divisione),
 F: barre (de mesure),


@@ -493,95 +485,89 @@ D: Taktstrich,
 NL: maatstreep,
 DK: taktstreg,
 S: taktstreck,
 NL: maatstreep,
 DK: taktstreg,
 S: taktstreck,

-FI: tahtiviiva,
-N: ?.
+FI: tahtiviiva.

 
 

-@aitem{bar}
-ES: comp@'as, @aref{measure}.
+@aitem{bar}@c
+ES: compás, @aref{measure}.

 
 

-@aitem{baritone}
-ES: bar@'{@dotless{i}}tono,
+@aitem{baritone}@c
+ES: barítono,

 I: baritono,
 F: bariton,
 D: Bariton,
 NL: bariton,
 DK: baryton,
 S: baryton,
 I: baritono,
 F: bariton,
 D: Bariton,
 NL: bariton,
 DK: baryton,
 S: baryton,

-FI: baritoni, keskikorkuinen mies@"a@"ani,
-N: baryton.
+FI: baritoni, keskikorkuinen miesääni.

 
 The male voice intermediate between the @aref{bass} and the
 @aref{tenor}.
 
 
 The male voice intermediate between the @aref{bass} and the
 @aref{tenor}.
 

-@c F: clef de troisi@`eme ligne dropped
+@c F: clef de troisième ligne dropped

 
 

-@aitem{baritone clef}
+@aitem{baritone clef}@c

 ES: clave de fa en tercera,
 I: chiave di baritono,
 ES: clave de fa en tercera,
 I: chiave di baritono,

-F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
-D: Baritonschl@"ussel,
+F: clef d' Ut cinquième ligne, clef de Fa troisième,
+D: Baritonschlüssel,

 NL: baritonsleutel,
 NL: baritonsleutel,

-DK: barytonn@o{}gle,
+DK: barytonnøgle,

 S: barytonklav,
 S: barytonklav,

-FI: baritoniavain,
-N: ?.
+FI: baritoniavain.

 
 

-C or F clef setting central C on the upper staff line.
+C or F clef setting middle C on the upper staff line.

 @aref{C clef}, @aref{F clef}.
 
 @aref{C clef}, @aref{F clef}.
 

-@aitem{bass clef}
+@aitem{bass clef}@c

 ES: clave de fa en cuarta,
 I: chiave di basso,
 ES: clave de fa en cuarta,
 I: chiave di basso,

-F: cl@'e de fa quatri@`eme ligne,
-D: Bassschl@"ussel,
+F: clé de fa quatrième ligne,
+D: Bassschlüssel,

 NL: bassleutel,
 NL: bassleutel,

-DK: basn@o{}gle,
+DK: basnøgle,

 S: basklav,
 S: basklav,

-FI: bassoavain,
-N: ?.
+FI: bassoavain.

 
 

-A clef setting with central C on the first top ledger line.
+A clef setting with middle C on the first top ledger line.

 @aref{F clef}.
 
 @aref{F clef}.
 

-@aitem{bass}
+@aitem{bass}@c

 I: basso,
 F: basse,
 D: Bass,
 NL: bas,
 DK: bas,
 S: bas,
 I: basso,
 F: basse,
 D: Bass,
 NL: bas,
 DK: bas,
 S: bas,

-FI: basso, matala mies@"a@"ani,
-N: bas.
+FI: basso, matala miesääni.

 
 

-1. The lowest of men's voices.
-2. Sometimes, especially in jazz music, used as
+1.@tie{}The lowest male voice.
+2.@tie{}Sometimes, especially in jazz music, used as

 an abbreviation for double bass.
 @aref{strings}.
 
 an abbreviation for double bass.
 @aref{strings}.
 

-@aitem{beam}
+@aitem{beam}@c

 I: coda,
 F: barre,
 D: Balken,
 NL: waardestreep,
 I: coda,
 F: barre,
 D: Balken,
 NL: waardestreep,

-DK: bj@ae{}lke,
+DK: bjælke,

 S: balk,
 S: balk,

-FI: palkki,
-N: ?.
+FI: palkki.

 
 Line connecting a series of notes (shorter than a quarter note).
 
 Line connecting a series of notes (shorter than a quarter note).

-The number of beams determine the note value of the connected notes.
+The number of beams determines the note value of the connected notes.

 
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Voice.TextScript \set #'font-style = #'large
-\notes\relative c'' {
+@lilypond[fragment,notime,linewidth=13.0\cm]
+\set Score.automaticBars = ##f
+%\override TextScript #'font-style = #'large
+\relative c'' {

   g8_"1/8"[ g g g] s16
   g16_"1/16"[ g g g] s16
   g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
   g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
 @end lilypond
 
   g8_"1/8"[ g g g] s16
   g16_"1/16"[ g g g] s16
   g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
   g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
 @end lilypond
 

-@aitem{beat}
+@aitem{beat}@c

 ES: tiempo,
 I: tempi,
 F: temps,
 ES: tiempo,
 I: tempi,
 F: temps,


@@ -589,25 +575,24 @@ D: Takt, Taktschlag, Zeit (im Takt),
 NL: tel,
 DK: (takt)slag,
 S: taktslag,
 NL: tel,
 DK: (takt)slag,
 S: taktslag,

-FI: aika-arvo,
-N: ?.
+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
+@lilypond[fragment,linewidth=13.0\cm]

 \key g \major
 \time 4/4
 \key g \major
 \time 4/4

-\notes\relative c'' { g4 c b a | g1 \bar "||"}
+\relative c'' { g4 c b a | g1 \bar "||"}

 \time 3/8
 \time 3/8

-\notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
+\relative c'' { g8 d' c | b c a | g4. \bar "||"}

 @end lilypond
 
 @end lilypond
 

-@aitem{bind}
+@aitem{bind}@c

 @aref{tie}.
 
 @aref{tie}.
 

-@aitem{brace}
+@aitem{brace}@c

 ES: llave, corchete,
 I: graffa,
 F: accolade,
 ES: llave, corchete,
 I: graffa,
 F: accolade,


@@ -615,73 +600,69 @@ D: Klammer, Akkolade,
 NL: accolade, teksthaak,
 DK: klamme,
 S: klammer,
 NL: accolade, teksthaak,
 DK: klamme,
 S: klammer,

-FI: yhdist@"av@"a sulkumerkki,
-N: ?.
+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, angular brackets for connecting parts in an
 orchestral or choral score.
 

-@lilypond
-\notes\context GrandStaff <<
-  \relative c''\context Staff = SA  { \clef treble g4 e c2 }
+@lilypond[fragment,raggedright]
+\context GrandStaff <<
+  \relative c''\context Staff = SA { \clef treble g4 e c2 }

   \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
 @end lilypond
 
   \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
 @end lilypond
 

-@lilypond
+@lilypond[fragment,raggedright]

 \context StaffGroup <<
 \context StaffGroup <<

-%  \property StaffGroup.minVerticalAlign = #12
-  \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
-  \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
+%  \set StaffGroup.minVerticalAlign = #12
+  \relative c'' \context Staff = SA { \clef treble g4 e c2 }
+  \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>

 @end lilypond
 
 @end lilypond
 

-@aitem{brass}
+@aitem{brass}@c

 ES: metales,
 I: ottoni,
 ES: metales,
 I: ottoni,

-D: Blechbl@"aser,
+D: Blechbläser,

 NL: koper (blazers),
 F: cuivres,
 NL: koper (blazers),
 F: cuivres,

-DK: messingbl@ae{}sere,
-S: brassinstrument, m@"assingsinstrument,
-FI: vaskisoitin,
-N: ?.
+DK: messingblæsere,
+S: brassinstrument, mässingsinstrument,
+FI: vaskisoitin.

 
 

-A family of blown musical instruments made of brass all using a cup formed
+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.
 
 mouth piece.  The brass instruments commonly used in a symphony orchestra are
 trumpet, trombone, french horn, and tube.
 

-@aitem{breath mark}
+@aitem{breath mark}@c

 I: respiro,
 F: respiration,
 D: Atemzeichen, Trennungszeichen,
 NL: repercussieteken,
 I: respiro,
 F: respiration,
 D: Atemzeichen, Trennungszeichen,
 NL: repercussieteken,

-DK: vejrtr@ae{}kningstegn,
+DK: vejrtrækningstegn,

 S: andningstecken,
 S: andningstecken,

-FI: hengitysmerkki,
-N: ?.
+FI: hengitysmerkki.

 
 Indication of where to breathe in vocal and wind instrument parts.
 
 
 Indication of where to breathe in vocal and wind instrument parts.
 

-@aitem{breve}
+@aitem{breve}@c

 ES: breve,
 I: breve,
 ES: breve,
 I: breve,

-F: br@`eve,
+F: brève,

 D: Brevis,
 NL: brevis,
 DK: brevis,
 S: brevis,
 D: Brevis,
 NL: brevis,
 DK: brevis,
 S: brevis,

-FI: brevis,
-N: ?.
+FI: brevis.

 
 @aref{note value} twice as long as a whole note.  Mainly used
 in pre-1650 music.
 
 
 @aref{note value} twice as long as a whole note.  Mainly used
 in pre-1650 music.
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-\notes\relative c'' { g\breve }
+@lilypond[fragment,notime,raggedright]
+\set Score.automaticBars = ##f
+\relative c'' { g\breve }

 @end lilypond
 
 @end lilypond
 

-@aitem{C}
+@aitem{C}@c

 ES: do,
 I: do,
 F: ut,
 ES: do,
 I: do,
 F: ut,


@@ -689,29 +670,27 @@ D: C, c,
 NL: c,
 DK: c,
 S: c,
 NL: c,
 DK: c,
 S: c,

-FI: C, c,
-N: c.
+FI: C, c.

 
 

-@aitem{C clef}
+@aitem{C clef}@c

 ES: Clave de do,
 I: chiave di do,
 ES: Clave de do,
 I: chiave di do,

-F: cl@'e d'ut,
-D: C-Schl@"ussel,
+F: clé d'ut,
+D: C-Schlüssel,

 NL: C-sleutel,
 NL: C-sleutel,

-DK: c-n@o{}gle,
+DK: c-nøgle,

 S: c-klav,
 S: c-klav,

-FI: C-avain,
-N: ?.
+FI: C-avain.

 
 

-Clef symbol indicating the position of the central C.  Used on all note
+Clef symbol indicating the position of the middle C.  Used on all note

 lines.
 
 lines.
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-\property Score.Clef \override #'full-size-change = ##t
-%\property Score.LyricText \set #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c' {
+@lilypond[fragment,notime,linewidth=13.0\cm]
+\set Score.automaticBars = ##f
+\override Score.Clef #'full-size-change = ##t
+%\override Score.LyricText #'font-style = #'large
+\oldaddlyrics
+\context Staff \relative c' {

   \clef soprano c1 s s
   \clef mezzosoprano c s s
   \clef alto c s s
   \clef soprano c1 s s
   \clef mezzosoprano c s s
   \clef alto c s s


@@ -719,12 +698,12 @@ lines.
   \clef baritone c s s
 }
 \context Lyrics \lyrics {
   \clef baritone c s s
 }
 \context Lyrics \lyrics {

-  \property Lyrics . LyricText \override #'self-alignment-X = #-1
+  \override Lyrics .LyricText #'self-alignment-X = #-1

   "Soprano  " "Mezzosoprano  " "Alto  " "Tenor  " Baritone
 }
 @end lilypond
 
   "Soprano  " "Mezzosoprano  " "Alto  " "Tenor  " Baritone
 }
 @end lilypond
 

-@aitem{cadence}
+@aitem{cadence}@c

 ES: cadencia,
 I: cadenza,
 F: cadence,
 ES: cadencia,
 I: cadenza,
 F: cadence,


@@ -732,12 +711,11 @@ D: Kadenz,
 NL: cadens,
 DK: kadence,
 S: kadens,
 NL: cadens,
 DK: kadence,
 S: kadens,

-FI: kadenssi, lopuke,
-N: ?.
+FI: kadenssi, lopuke.

 
 @aref{harmonic cadence}, @aref{functional harmony}.
 
 
 @aref{harmonic cadence}, @aref{functional harmony}.
 

-@aitem{cadenza}
+@aitem{cadenza}@c

 ES: cadenza,
 I: cadenza,
 F: cadence,
 ES: cadenza,
 I: cadenza,
 F: cadence,


@@ -745,16 +723,15 @@ D: Kadenz,
 NL: cadens,
 DK: kadence,
 S: kadens,
 NL: cadens,
 DK: kadence,
 S: kadens,

-FI: kadenssi, lopuke,
-N: ?.
+FI: kadenssi, lopuke.

 
 An extended, improvisatory style section inserted near the end of
 
 An extended, improvisatory style section inserted near the end of

-movement.  The purpose of a cadenza is to give the singer or player a chance to
-exhibit her technichal skill and not the least her 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 cadences have
+been written down by the composer.

 
 

-@aitem{canon}
+@aitem{canon}@c

 ES: canon,
 I: canone,
 F: canon,
 ES: canon,
 I: canone,
 F: canon,


@@ -762,12 +739,11 @@ D: Kanon,
 NL: canon,
 DK: kanon,
 S: kanon,
 NL: canon,
 DK: kanon,
 S: kanon,

-FI: kaanon, tarkka j@"aljittely,
-N: ?.
+FI: kaanon, tarkka jäljittely.

 
 @aref{counterpoint}.
 
 
 @aref{counterpoint}.
 

-@aitem{cent}
+@aitem{cent}@c

 ES: cent,
 I: cent,
 F: cent,
 ES: cent,
 I: cent,
 F: cent,


@@ -775,17 +751,16 @@ D: Cent,
 NL: cent,
 DK: cent,
 S: cent,
 NL: cent,
 DK: cent,
 S: cent,

-FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a,
-N: ?.
+FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä.

 
 

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

 @aref{equal temperament}.
 
 @aref{equal temperament}.
 

-@aitem{central C}
+@aitem{central C}@c

 @aref{middle C}.
 
 @aref{middle C}.
 

-@aitem{chord}
+@aitem{chord}@c

 ES: acorde,
 I: accordo,
 F: accord,
 ES: acorde,
 I: accordo,
 F: accord,


@@ -793,8 +768,7 @@ D: Akkord,
 NL: akkoord,
 DK: akkord,
 S: ackord,
 NL: akkoord,
 DK: akkord,
 S: ackord,

-FI: sointu,
-N: ?.
+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 +
 
 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 +


@@ -805,11 +779,11 @@ and five-tone @emph{ninth} major chords are most often used as dominants
 third above the lower notes to define their quality as major or minor.  Such
 chords are denoted open chords
 
 third above the lower notes to define their quality as major or minor.  Such
 chords are denoted open chords
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Voice.TextScript \set #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
+@lilypond[fragment,notime,linewidth=13.0\cm]
+\set Score.automaticBars = ##f
+%\override TextScript #'font-style = #'large
+\oldaddlyrics
+\context Staff \relative c'' {

   <g b d>1 s s
   <g bes d> s s
   <g bes des> s s
   <g b d>1 s s
   <g bes d> s s
   <g bes des> s s


@@ -818,31 +792,33 @@ chords are denoted open chords
   <g b d f a> s s
 }
 \context Lyrics \lyrics{
   <g b d f a> s s
 }
 \context Lyrics \lyrics{

-  \property Lyrics . LyricText \set #'self-alignment-X = #-1
-  "major  " "minor  " "diminished  " "augmented  "
-  "seventh-chord  " "ninth-chord  "
+  "major  "
+  "minor  "
+  "diminished  "
+  "augmented  "
+  "seventh-chord  "
+  ninth-chord

 }
 @end lilypond
 
 }
 @end lilypond
 

-@aitem{chromatic scale}
-ES: escala crom@'atica,
+@aitem{chromatic scale}@c
+ES: escala cromática,

 I: scala cromatica,
 F: gamme chromatique,
 I: scala cromatica,
 F: gamme chromatique,

-D: chromatische Tonleiter,
+D: chro@-ma@-ti@-sche Tonleiter,

 NL: chromatische toonladder,
 DK: kromatisk skala,
 S: kromatisk skala,
 NL: chromatische toonladder,
 DK: kromatisk skala,
 S: kromatisk skala,

-FI: kromaattinen asteikko,
-N: ?.
+FI: kromaattinen asteikko.

 
 

-A scale consisting of all 11 @aref{semitone}s.
+A scale consisting of all 12 @aref{semitone}s.

 
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-\notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
+@lilypond[fragment,notime,linewidth=13.0\cm]
+\set Score.automaticBars = ##f
+\relative c' { c1 cis d dis e f fis g gis a ais b c }

 @end lilypond
 
 @end lilypond
 

-@aitem{chromaticism}
+@aitem{chromaticism}@c

 ES: cromatismo,
 I: cromatismo,
 F: chromatisme,
 ES: cromatismo,
 I: cromatismo,
 F: chromatisme,


@@ -850,99 +826,120 @@ D: Chromatik,
 NL: chromatiek,
 DK: kromatik,
 S: kromatik,
 NL: chromatiek,
 DK: kromatik,
 S: kromatik,

-FI: kromatiikka,
-N: ?.
+FI: kromatiikka.

 
 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
 
 
 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
 

-@aitemii{church mode,ecclesiastical mode}
-ES: modo eclesi@'astico,
+@aitemii{church mode,ecclesiastical mode}@c
+ES: modo eclesiástico,

 I: modo ecclesiastico,
 I: modo ecclesiastico,

-F: mode eccl@'esiastique,
+F: mode ecclésiastique,

 D: Kirchentonart,
 NL: kerktoonladder,
 DK: kirketoneart,
 S: kyrkotonart,
 D: Kirchentonart,
 NL: kerktoonladder,
 DK: kirketoneart,
 S: kyrkotonart,

-FI: moodi, kirkkos@"avellaji,
-N: ?.
+FI: moodi, kirkkosävellaji.

 
 @aref{diatonic scale}.
 
 
 @aref{diatonic scale}.
 

-@aitem{clef}
+@aitem{clef}@c

 ES: clave,
 I: chiave,
 ES: clave,
 I: chiave,

-F: cl@'e, clef,
-D: Schl@"ussel, Notenschl@"ussel,
+F: clé, clef,
+D: Schlüssel, Notenschlüssel,

 NL: sleutel,
 NL: sleutel,

-DK: n@o{}gle,
+DK: nøgle,

 S: klav,
 S: klav,

-FI: avain, nuottiavain,
-N: ?.
+FI: avain, nuottiavain.

 
 @aref{C clef}, @aref{F clef}, @aref{G clef}.
 
 
 @aref{C clef}, @aref{F clef}, @aref{G clef}.
 

-@aitem{comma}
+@aitem{cluster}@c
+A @emph{cluster} is a range of simultaneously sounding pitches that
+may change over time.  The set of available pitches to apply usually
+depends on the acoustic source.  Thus, in piano music, a cluster
+typically consists of a continuous range of the semitones as provided
+by the piano's fixed set of a chromatic scale.  In choral music, each
+singer of the choir typically may sing an arbitrary pitch within the
+cluster's range that is not bound to any diatonic, chromatic or other
+scale.  In electronic music, a cluster (theoretically) may even cover
+a continuous range of pitches, thus resulting in colored noise, such
+as pink noise.
+
+Clusters can be denoted in the context of ordinary staff notation by
+engraving simple geometrical shapes that replace ordinary notation of
+notes.  Ordinary notes as musical events specify starting time and
+duration of pitches; however, the duration of a note is expressed by
+the shape of the note head rather than by the horizontal graphical
+extent of the note symbol.  In contrast, the shape of a cluster
+geometrically describes the development of a range of pitches
+(vertical extent) over time (horizontal extent).  Still, the
+geometrical shape of a cluster covers the area in which any single
+pitch contained in the cluster would be notated as an ordinary note.
+
+@lilypond[fragment,relative=2,verbatim,raggedright]
+\makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
+@end lilypond
+
+@aitem{comma}@c

 I: comma,
 F: comma,
 D: Komma,
 NL: komma,
 DK: komma,
 S: komma,
 I: comma,
 F: comma,
 D: Komma,
 NL: komma,
 DK: komma,
 S: komma,

-FI: komma, korvinkuultava ero @"a@"anenkorkeudessa,
-N: ?.
+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.  @aref{temperament}.
 
 
 Difference in pitch between a note derived from pure tuning and the same note
 derived from some other tuning method.  @aref{temperament}.
 

-@aitem{common meter}
+@aitem{common meter}@c

 @aref{meter}.
 
 @aref{meter}.
 

-@aitem{compound interval}
+@aitem{compound interval}@c

 ES: intervalo compuesto,
 I: intervallo composto,
 ES: intervalo compuesto,
 I: intervallo composto,

-F: intervalle compos@'e,
+F: intervalle composé,

 D: weites Intervall,
 NL: samengesteld interval,
 DK: sammensat interval,
 S: sammansatt intervall,
 D: weites Intervall,
 NL: samengesteld interval,
 DK: sammensat interval,
 S: sammansatt intervall,

-FI: oktaavia laajempi intervalli,
-N: ?.
+FI: oktaavia laajempi intervalli.

 
 Intervals larger than an octave.
 
 @aref{interval}.
 
 
 Intervals larger than an octave.
 
 @aref{interval}.
 

-@aitem{complement}
+@aitem{complement}@c

 I: rivolto,
 I: rivolto,

-F: intervalle compl@'ementaire,
-D: Komplement@"arintervall,
+F: intervalle complémentaire,
+D: Komplementärintervall,

 NL: complementair interval,
 NL: complementair interval,

-DK: komplement@ae{}rinterval,
-S: komplement@"arintervall (?),
-FI: t@"aydent@"av@"a intervalli,
-N: ?.
+DK: komplementærinterval,
+S: komplementärintervall (?),
+FI: täydentävä intervalli.

 
 @aref{inverted interval}.
 
 
 @aref{inverted interval}.
 

-@aitem{conjunct movement}
+@aitem{conjunct movement}@c

 ES: movimiento conjunto,
 I: moto congiunto,
 F: mouvement conjoint,
 ES: movimiento conjunto,
 I: moto congiunto,
 F: mouvement conjoint,

-D: schrittweise, stufenweise Bewegung,
+D: schritt@-weise, stufenweise Bewegung,

 NL: stapsgewijze, trapsgewijze beweging,
 NL: stapsgewijze, trapsgewijze beweging,

-DK: trinvis bev@ae{}gelse,
-S: stegvis r@"orelse,
-FI: asteittainen liike,
-N: ?.
+DK: trinvis bevægelse,
+S: stegvis rörelse,
+FI: asteittainen liike.

 
 

-Melody moving in the narrow steps of the scale.
+Progressing melodically by intervals of a second.  The opposite of a
+@aref{disjunct movement}.

 
 

-@lilypond
+@lilypond[fragment,linewidth=13.0\cm]

 \key g \major \time 4/4
 \key g \major \time 4/4

-\notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
+\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }

 @end lilypond
 
 @end lilypond
 

-@aitem{consonance}
+@aitem{consonance}@c

 ES: consonancia,
 I: consonanza,
 F: consonance,
 ES: consonancia,
 I: consonanza,
 F: consonance,


@@ -950,12 +947,11 @@ D: Konsonanz,
 NL: consonant,
 DK: konsonans,
 S: konsonans,
 NL: consonant,
 DK: konsonans,
 S: konsonans,

-FI: konsonanssi, sopusointi,
-N: ?.
+FI: konsonanssi, sopusointi.

 
 @aref{harmony}.
 
 
 @aref{harmony}.
 

-@aitem{contralto}
+@aitem{contralto}@c

 ES: contralto,
 I: contralto,
 F: contralto,
 ES: contralto,
 I: contralto,
 F: contralto,


@@ -963,12 +959,11 @@ D: Alt,
 NL: contralto,
 DK: alt,
 S: alt,
 NL: contralto,
 DK: alt,
 S: alt,

-FI: kontra-altto,
-N: ?.
+FI: kontra-altto.

 
 @aref{alto}.
 
 
 @aref{alto}.
 

-@aitem{counterpoint}
+@aitem{counterpoint}@c

 ES: contrapunto,
 I: contrappunto,
 F: contrepoint,
 ES: contrapunto,
 I: contrappunto,
 F: contrepoint,


@@ -976,8 +971,7 @@ D: Kontrapunkt,
 NL: contrapunt,
 DK: kontrapunkt,
 S: kontrapunkt,
 NL: contrapunt,
 DK: kontrapunkt,
 S: kontrapunkt,

-FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan,
-N: ?.
+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
 
 From latin @emph{punctus contra punctum}, note against note.  The combination
 into a single musical fabric of lines or parts which have distinct melodic


@@ -988,9 +982,9 @@ 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.
 
 music of the baroque era, has been one of the most popular polyphonic
 composition methods.
 

-@lilypond[staffsize=11,noquote]
-\property Score.TimeSignature \override #'style =\turnOff
-\notes\context PianoStaff <<
+@lilypond[fragment,staffsize=12,linewidth=13.0\cm]
+\override Score.TimeSignature #'break-visibility = #all-invisible
+\context PianoStaff <<

   \context Staff = SA \relative c' {
     \key bes \major
     \time 4/4
   \context Staff = SA \relative c' {
     \key bes \major
     \time 4/4


@@ -1024,27 +1018,26 @@ composition methods.
 >>
 @end lilypond
 
 >>
 @end lilypond
 

-@aitem{counter tenor}
+@aitem{counter tenor}@c

 ES: contratenor,
 I: controtenore,
 F: contre-tenor,
 ES: contratenor,
 I: controtenore,
 F: contre-tenor,

-D: Countertenor,
+D: Countertenor, Kontratenor,

 NL: contratenor,
 DK: kontratenor,
 S: kontratenor, counter tenor,
 NL: contratenor,
 DK: kontratenor,
 S: kontratenor, counter tenor,

-FI: kontratenori,
-N: kontratenor.
+FI: kontratenori.

 
 @aref{contralto}.
 
 
 @aref{contralto}.
 

-@aitem{Copying, Music}
+@aitem{copying, music}@c

 A music copyist did fast freehand scores and parts on preprinted staff lines
 A music copyist did fast freehand scores and parts on preprinted staff lines

-for performance.  Some of their conventions (e.g., the placement of noteheads
+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.
 
 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.
 

-@aitem{crescendo}
+@aitem{crescendo}@c

 ES: crescendo,
 I: crescendo,
 F: crescendo,
 ES: crescendo,
 I: crescendo,
 F: crescendo,


@@ -1052,35 +1045,32 @@ D: Crescendo, lauter werden,
 NL: crescendo,
 DK: crescendo,
 S: crescendo,
 NL: crescendo,
 DK: crescendo,
 S: crescendo,

-FI: cresendo, voimistuen,
-N: crescendo.
+FI: cresendo, voimistuen.

 
 Increasing volume.  Indicated by a rightwards opening horizontal wedge or the
 abbreviation ``cresc.''.
 
 
 Increasing volume.  Indicated by a rightwards opening horizontal wedge or the
 abbreviation ``cresc.''.
 

-@lilypond
+@lilypond[fragment,raggedright]

 \key g \major \time 4/4
 \key g \major \time 4/4

-\notes\relative c'' { g4 \< a b c |  d1\! \bar "|." }
+\relative c'' { g4 \< a b c | d1\! \bar "|." }

 @end lilypond
 
 @end lilypond
 

-@aitem{cue-notes}
+@aitem{cue-notes}@c

 ES: notas guia,
 I: notine,
 ES: notas guia,
 I: notine,

-F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
+F: petites notes précédent l'entrée d'in instrument, réplique,

 D: Stichnoten,
 NL: stichnoten,
 DK: stiknoder,
 S: inprickningar,
 D: Stichnoten,
 NL: stichnoten,
 DK: stiknoder,
 S: inprickningar,

-FI: vihjenuotit,
-N: ?.
+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.
 

-@aitem{custos}
-
+@aitem{custos}@c

 A custos is a staff symbol that appears at the end of a staff line
 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
+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.
 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.


@@ -1093,37 +1083,35 @@ of the 20th century
 
 @lilypond
 \score {
 
 @lilypond
 \score {

-    \notes {
-       \property Staff.Custos \set #'neutral-position = #4
-       \property Staff.Custos \set #'neutral-direction = #-1
-       \property Staff.Custos \set #'adjust-if-on-staffline = ##t
-
-       \property Staff.Custos \set #'style = #'hufnagel
-       c'1
-       \break < d' a' f''>1
-    }
-    \paper {
-       \translator {
-           \StaffContext
-           \consists Custos_engraver
-       }
-raggedright = ##t
+  {
+%   \override Staff.Custos #'neutral-position = #4
+    \override Staff.Custos #'neutral-direction = #-1
+    \override Staff.Custos #'style = #'hufnagel
+    c'1 \break
+    <d' a' f''>1
+  }
+
+  \layout {
+    \context {
+      \Staff
+      \consists Custos_engraver

     }
     }

+    raggedright = ##t
+  }

 }
 @end lilypond
   
 }
 @end lilypond
   

-@aitem{D}
+@aitem{D}@c

 ES: Re,
 I: re,
 ES: Re,
 I: re,

-F: r@'e,
+F: ré,

 D: D, d,
 NL: d,
 DK: d,
 S: d,
 D: D, d,
 NL: d,
 DK: d,
 S: d,

-FI: D, d,
-N: d.
+FI: D, d.

 
 

-@aitem{da capo}
+@aitem{da capo}@c

 ES: da capo,
 I: da capo,
 F: da capo, depuis le commencement,
 ES: da capo,
 I: da capo,
 F: da capo, depuis le commencement,


@@ -1131,54 +1119,57 @@ D: da capo, von Anfang,
 NL: da capo,
 DK: da capo,
 S: da capo,
 NL: da capo,
 DK: da capo,
 S: da capo,

-FI: da capo, alusta,
-N: ?.
+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 ``D.C.''.
+The term indicates repetition of the piece from the beginning to the end or
+to a certain place marked @emph{fine}.  Mostly abbreviated as ``D.C.''.

 
 

-@aitem{dal segno}
+@aitem{dal segno}@c

 ES: dal segno,
 I: dal segno,
 F: dal segno, depuis le signe,
 ES: dal segno,
 I: dal segno,
 F: dal segno, depuis le signe,

-D: dal segno,
+D: dal segno, ab dem Zeichen,

 NL: dal segno,
 DK: dal segno,
 S: dal segno,
 NL: dal segno,
 DK: dal segno,
 S: dal segno,

-FI: dal segno, merkkiin asti,
-N: ?.
+FI: dal segno, lähtien merkistä.

 
 Abbreviated ``d.s.''.  Repetition, not from the beginning, but from
 another place frequently near the beginning marked by a sign:
 
 
 Abbreviated ``d.s.''.  Repetition, not from the beginning, but from
 another place frequently near the beginning marked by a sign:
 

-@lilypond
-%\property Voice.TextScript \set #'font-style = #'large
-\property Voice.TextScript \set #'font-shape = #'italic
+@lilypond[fragment,raggedright]
+%\override TextScript #'font-style = #'large
+\override TextScript #'font-shape = #'italic

 \key g \major \time 4/4
 \key g \major \time 4/4

-\notes\relative c'' { d1 | g,4^\segno  a b c | b a g2_"d.s." \bar "|." }
+\relative c'' {
+  d1 |
+  g,4^\segno a b c |
+  b a g2_\markup{
+    \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts-segno" } }
+  \bar "|."
+}

 @end lilypond
 
 @end lilypond
 

-@aitem{decrescendo}
+@aitem{decrescendo}@c

 ES: decrescendo,
 I: decrescendo,
 D: Decrescendo, leiser werden,
 NL: decrescendo,
 DK: decrescendo,
 S: decrescendo,
 ES: decrescendo,
 I: decrescendo,
 D: Decrescendo, leiser werden,
 NL: decrescendo,
 DK: decrescendo,
 S: decrescendo,

-FI: decresendo, hiljentyen,
-N: decrescendo.
+FI: decresendo, hiljentyen.

 
 Decreasing tone volume.  Indicated by a leftwards opening horizontal wedge
 or the abbreviation ``decresc.''.
 
 
 Decreasing tone volume.  Indicated by a leftwards opening horizontal wedge
 or the abbreviation ``decresc.''.
 

-@lilypond
-\notes\relative c'' {
+@lilypond[fragment,raggedright]
+\relative c'' {

   \key g \major \time 4/4
   \key g \major \time 4/4

-  d4 \> c b a |  g1 \! \bar "|."
+  d4 \> c b a | g1 \! \bar "|."

 }
 @end lilypond
 
 }
 @end lilypond
 

-@aitem{descending interval}
+@aitem{descending interval}@c

 ES: intervalo descendente,
 I: intervallo discendente,
 F: intervalle descendant,
 ES: intervalo descendente,
 I: intervallo discendente,
 F: intervalle descendant,


@@ -1186,37 +1177,35 @@ D: fallendes Intervall, absteigendes Intervall,
 NL: dalend interval,
 DK: faldende interval,
 S: fallande intervall,
 NL: dalend interval,
 DK: faldende interval,
 S: fallande intervall,

-FI: laskeva intervalli,
-N: ?.
+FI: laskeva intervalli.

 
 A distance between a starting higher note and a lower ending note.
 
 
 A distance between a starting higher note and a lower ending note.
 

-@aitem{diatonic scale}
-ES: escala diat@'onica,
+@aitem{diatonic scale}@c
+ES: escala diatónica,

 I: scala diatonica,
 F: gamme diatonique,
 D: diatonische Tonleiter,
 NL: diatonische toonladder,
 DK: diatonisk skala,
 S: diatonisk skala,
 I: scala diatonica,
 F: gamme diatonique,
 D: diatonische Tonleiter,
 NL: diatonische toonladder,
 DK: diatonisk skala,
 S: diatonisk skala,

-FI: diatoninen asteikko,
-N: ?.
+FI: diatoninen asteikko.

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

-The church modes are used in gregorial chant and pre baroque early music but
-also to some extent in newer jazz music.
+The church modes are used in gregorial chant and in pre-baroque early
+music but also to some extent in newer jazz music.

 
 

-@lilypond[notime,linewidth=110\mm]
-\property Score.automaticBars = ##f
-%\property Score.LyricText \set #'font-style = #'large
-%\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-  \context Staff \notes\relative c' {
+@lilypond[fragment,notime,raggedright]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+  \context Staff \relative c' {

     c1 d
     c1 d

-    \property Voice.TextScript \set #'padding = #-4
+    \override TextScript #'padding = #-4

     e^"~~ S" f g a b^"~~ S" c
   }
   \context Lyrics \lyrics {
     e^"~~ S" f g a b^"~~ S" c
   }
   \context Lyrics \lyrics {


@@ -1224,14 +1213,14 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
   }
 @end lilypond
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Score.LyricText \set #'font-style = #'large
-%\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-  \context Staff \notes\relative c' {
+@lilypond[fragment,notime,raggedright]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+  \context Staff \relative c' {

     d1
     d1

-    \property Voice.TextScript \set #'padding = #-4
+    \override TextScript #'padding = #-4

     e^"~~ S" f g a b^"~~ S" c d
   }
   \context Lyrics \lyrics {
     e^"~~ S" f g a b^"~~ S" c d
   }
   \context Lyrics \lyrics {


@@ -1239,13 +1228,13 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
   }
 @end lilypond
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Score.LyricText \set #'font-style = #'large
-%\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-  \notes\relative c' {
-    \property Voice.TextScript \set #'padding = #-4
+@lilypond[fragment,notime,raggedright]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+  \relative c' {
+    \override TextScript #'padding = #-4

     e1^"~~ S" f g a b^"~~ S" c d e
   }
   \context Lyrics \lyrics {
     e1^"~~ S" f g a b^"~~ S" c d e
   }
   \context Lyrics \lyrics {


@@ -1253,14 +1242,14 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
   }
 @end lilypond
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Score.LyricText \set #'font-style = #'large
-%\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-  \notes\relative c' {
+@lilypond[fragment,notime,raggedright]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+  \relative c' {

     f1 g a
     f1 g a

-    \property Voice.TextScript \set #'padding = #-4
+    \override TextScript #'padding = #-4

     b^"~~ S" c d e^"~~ S" f
   }
   \context Lyrics \lyrics {
     b^"~~ S" c d e^"~~ S" f
   }
   \context Lyrics \lyrics {


@@ -1268,28 +1257,28 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
   }
 @end lilypond
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Score.LyricText \set #'font-style = #'large
-%\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-  \notes\relative c'' {
+@lilypond[fragment,notime,raggedright]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+  \relative c'' {

     g1 a
     g1 a

-    \property Voice.TextScript \set #'padding = #-4
+    \override TextScript #'padding = #-4

     b^"~~ S" c d e^"~~ S" f g }
   \context Lyrics \lyrics {
     Mixolydian
   }
 @end lilypond
 
     b^"~~ S" c d e^"~~ S" f g }
   \context Lyrics \lyrics {
     Mixolydian
   }
 @end lilypond
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Score.LyricText \set #'font-style = #'large
-%\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-  \notes\relative c'' {
+@lilypond[fragment,notime,raggedright]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+  \relative c'' {

     a1
     a1

-    \property Voice.TextScript \set #'padding = #-4
+    \override TextScript #'padding = #-4

     b^"~~ S" c d e^"~~ S" f g a
   }
   \context Lyrics \lyrics {
     b^"~~ S" c d e^"~~ S" f g a
   }
   \context Lyrics \lyrics {


@@ -1302,14 +1291,14 @@ 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.
 
 harmonic minor scale type an augmented second (A) occurs between the 6th and
 7th tone.
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Score.LyricText \set #'font-style = #'large
-%\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-  \notes\relative c' {
+@lilypond[fragment,notime,raggedright]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+  \relative c' {

     c1 d
     c1 d

-    \property Voice.TextScript \set #'padding = #-4
+    \override TextScript #'padding = #-4

     e^"~~ S" f g a b^"~~ S" c
   }
   \context Lyrics \lyrics {
     e^"~~ S" f g a b^"~~ S" c
   }
   \context Lyrics \lyrics {


@@ -1317,14 +1306,14 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
   }
 @end lilypond
 
   }
 @end lilypond
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Score.LyricText \set #'font-style = #'large
-%\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-  \notes\relative c'' {
+@lilypond[fragment,notime,raggedright]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+  \relative c'' {

     a1
     a1

-    \property Voice.TextScript \set #'padding = #-4
+    \override TextScript #'padding = #-4

     b^"~~ S" c d e^"~~ S" f g a
   }
   \context Lyrics \lyrics {
     b^"~~ S" c d e^"~~ S" f g a
   }
   \context Lyrics \lyrics {


@@ -1332,14 +1321,14 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
   }
 @end lilypond
 
   }
 @end lilypond
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Score.LyricText \set #'font-style = #'large
-%\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-  \notes\relative c'' {
+@lilypond[fragment,notime,raggedright]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+  \relative c'' {

     a1
     a1

-    \property Voice.TextScript \set #'padding = #-4
+    \override TextScript #'padding = #-4

     b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
   }
   \context Lyrics \lyrics {
     b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
   }
   \context Lyrics \lyrics {


@@ -1347,14 +1336,14 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
   }
 @end lilypond
 
   }
 @end lilypond
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Score.LyricText \set #'font-style = #'large
-%\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-  \notes\relative c'' {
+@lilypond[fragment,notime,linewidth=13.0\cm]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+  \relative c'' {

     a1
     a1

-    \property Voice.TextScript \set #'padding = #-4
+    \override TextScript #'padding = #-4

     b^"~~ S" c d e fis gis^"~~ S"
     a g! f!^"~~ S" e d c^"~~ S" b a
   }
     b^"~~ S" c d e fis gis^"~~ S"
     a g! f!^"~~ S" e d c^"~~ S" b a
   }


@@ -1363,20 +1352,19 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
   }
 @end lilypond
 
   }
 @end lilypond
 

-@aitem{diminished interval}
-ES: intervalo disminu@'{@dotless{i}}do,
+@aitem{diminished interval}@c
+ES: intervalo disminuído,

 I: intervallo diminuito,
 I: intervallo diminuito,

-F: intervalle diminu@'e,
+F: intervalle diminué,

 D: vermindertes Intervall,
 NL: verminderd interval,
 DK: formindsket interval,
 D: vermindertes Intervall,
 NL: verminderd interval,
 DK: formindsket interval,

-S: f@"orminskat intervall,
-FI: v@"ahennetty intervalli,
-N: ?.
+S: förminskat intervall,
+FI: vähennetty intervalli.

 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitem{diminuendo}
+@aitem{diminuendo}@c

 ES: diminuendo,
 I: diminuendo,
 F: diminuendo,
 ES: diminuendo,
 I: diminuendo,
 F: diminuendo,


@@ -1384,35 +1372,33 @@ D: Diminuendo,
 NL: diminuendo,
 DK: diminuendo,
 S: diminuendo,
 NL: diminuendo,
 DK: diminuendo,
 S: diminuendo,

-FI: diminuendo, hiljentyen,
-N: diminuendo.
+FI: diminuendo, hiljentyen.

 
 @aref{decrescendo}.
 
 
 @aref{decrescendo}.
 

-@aitem{disjunct movement}
+@aitem{disjunct movement}@c

 ES: movimiendo disjunto,
 I: moto disgiunto,
 F: mouvement disjoint,
 D: sprunghafte Bewegung,
 NL: sprongsgewijze beweging,
 ES: movimiendo disjunto,
 I: moto disgiunto,
 F: mouvement disjoint,
 D: sprunghafte Bewegung,
 NL: sprongsgewijze beweging,

-DK: springende bev@ae{}gelse,
-S: hoppande r@"orelse,
-FI: melodian hyppiv@"a liike,
-N: ?.
+DK: springende bevægelse,
+S: hoppande rörelse,
+FI: melodian hyppivä liike.

 
 

-Melody moving in steps greater than those of the
-scale.  Opposite of @aref{conjunct movement}.
+Progressing melodically by intervals larger than a major second.  
+Opposite of @aref{conjunct movement}.

 
 

-@lilypond
+@lilypond[fragment,raggedright]

 \key a \major
 \time 4/4
 \key a \major
 \time 4/4

-\notes\relative c' {
+\relative c' {

   \partial 8 e8 |
   a4. gis8 b a e cis |
   fis2 d4. \bar "||" }
 @end lilypond
 
   \partial 8 e8 |
   a4. gis8 b a e cis |
   fis2 d4. \bar "||" }
 @end lilypond
 

-@aitemii{dissonant interval,dissonance}
+@aitemii{dissonant interval,dissonance}@c

 ES: intervalo disonante, disonancias,
 I: intervallo dissonante, dissonanza,
 F: dissonance,
 ES: intervalo disonante, disonancias,
 I: intervallo dissonante, dissonanza,
 F: dissonance,


@@ -1420,37 +1406,34 @@ D: Dissonanz,
 NL: dissonant interval; dissonant,
 DK: dissonerende interval, dissonans,
 S: dissonans,
 NL: dissonant interval; dissonant,
 DK: dissonerende interval, dissonans,
 S: dissonans,

-FI: dissonanssi, dissonoiva intervalli, riitasointi,
-N: ?.
+FI: dissonanssi, dissonoiva intervalli, riitasointi.

 
 @aref{harmony}.
 
 
 @aref{harmony}.
 

-@aitem{dominant ninth chord}
+@aitem{dominant ninth chord}@c

 I: accordo di nona di dominante,
 I: accordo di nona di dominante,

-F: accord de neuvi@`eme dominante,
-D: Dominantnoneakkord,
+F: accord de neuvième dominante,
+D: Domi@-nant@-nonen@-akkord,

 NL: dominant noon akkoord,
 DK: dominantnoneakkord,
 S: dominantnonackord,
 NL: dominant noon akkoord,
 DK: dominantnoneakkord,
 S: dominantnonackord,

-FI: dominanttinoonisointu,
-N: ?.
+FI: dominanttinoonisointu.

 
 @aref{chord}, @aref{functional harmony}.
 
 
 @aref{chord}, @aref{functional harmony}.
 

-@aitem{dominant seventh chord}
-ES: acorde de s@'eptima de dominante,
+@aitem{dominant seventh chord}@c
+ES: acorde de séptima de dominante,

 I: accordo di settima di dominante,
 I: accordo di settima di dominante,

-F: accord de septi@`eme dominante,
+F: accord de septième dominante,

 D: Dominantseptakkord,
 NL: dominant septiem akkoord,
 DK: dominantseptimakkord,
 S: dominantseptimackord,
 D: Dominantseptakkord,
 NL: dominant septiem akkoord,
 DK: dominantseptimakkord,
 S: dominantseptimackord,

-FI: dominanttiseptimisointu,
-N: ?
+FI: dominanttiseptimisointu.

 
 @aref{chord}, @aref{functional harmony}.
 
 
 @aref{chord}, @aref{functional harmony}.
 

-@aitem{dominant}
+@aitem{dominant}@c

 ES: dominante,
 I: dominante,
 F: dominante,
 ES: dominante,
 I: dominante,
 F: dominante,


@@ -1458,52 +1441,48 @@ D: Dominante,
 NL: dominant,
 DK: dominant,
 S: dominant,
 NL: dominant,
 DK: dominant,
 S: dominant,

-FI: dominantti, huippusointu,
-N: ?.
+FI: dominantti, huippusointu.

 
 The fifth @aref{scale degree},
 @aref{functional harmony}.
 
 
 The fifth @aref{scale degree},
 @aref{functional harmony}.
 

-@aitem{dorian mode}
-ES: modo d@'orico,
+@aitem{dorian mode}@c
+ES: modo dórico,

 I: modo dorico,
 F: mode dorien,
 D: dorisch, dorischer Kirchenton,
 NL: dorische toonladder,
 DK: dorisk skala,
 S: dorisk tonart,
 I: modo dorico,
 F: mode dorien,
 D: dorisch, dorischer Kirchenton,
 NL: dorische toonladder,
 DK: dorisk skala,
 S: dorisk tonart,

-FI: doorinen moodi,
-N: ?.
+FI: doorinen moodi.

 
 @aref{diatonic scale}.
 
 
 @aref{diatonic scale}.
 

-@aitem{dot (augmentation dot)}
+@aitem{dot (augmentation dot)}@c

 ES: puntillo,
 I: punto (di valore),
 F: point,
 ES: puntillo,
 I: punto (di valore),
 F: point,

-D: Punkt (Verl@"angerungspunkt),
+D: Punkt (Verlängerungspunkt),

 NL: punt,
 DK: punkt,
 S: punkt,
 NL: punt,
 DK: punkt,
 S: punkt,

-FI: piste,
-N: ?.
+FI: piste.

 
 @aref{dotted note}.
 
 
 @aref{dotted note}.
 

-@aitem{dotted note}
+@aitem{dotted note}@c

 ES: nota con puntillo,
 I: nota puntata,
 ES: nota con puntillo,
 I: nota puntata,

-F: note point@'ee,
+F: note pointée,

 D: punktierte Note,
 NL: gepuncteerde noot,
 DK: punkteret node,
 S: punkterad not,
 D: punktierte Note,
 NL: gepuncteerde noot,
 DK: punkteret node,
 S: punkterad not,

-FI: pisteellinen nuotti,
-N: ?.
+FI: pisteellinen nuotti.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{double appoggiatura}
+@aitem{double appoggiatura}@c

 ES: apoyatura doble,
 I: appoggiatura doppia,
 F: appoggiature double,
 ES: apoyatura doble,
 I: appoggiatura doppia,
 F: appoggiature double,


@@ -1511,63 +1490,58 @@ D: doppelter Vorschlag,
 NL: dubbele voorslag,
 DK: dobbelt forslag,
 S: dubbelslag,
 NL: dubbele voorslag,
 DK: dobbelt forslag,
 S: dubbelslag,

-FI: kaksoisappogiatura, kaksoisetuhele,
-N: ?.
+FI: kaksoisappogiatura, kaksoisetuhele.

 
 @aref{appoggiatura}.
 
 
 @aref{appoggiatura}.
 

-@aitem{double bar line}
+@aitem{double bar line}@c

 I: doppia barra,
 F: double barre,
 D: Doppelstrich,
 NL: dubbele maatstreep,
 DK: dobbeltstreg,
 S: dubbelstreck,
 I: doppia barra,
 F: double barre,
 D: Doppelstrich,
 NL: dubbele maatstreep,
 DK: dobbeltstreg,
 S: dubbelstreck,

-FI: kaksoistahtiviiva,
-N: ?.
+FI: kaksoistahtiviiva.

 
 Indicates the end of a section within a movement.
 
 
 Indicates the end of a section within a movement.
 

-@aitem{double dotted note}
+@aitem{double dotted note}@c

 ES: nota con dos puntillos,
 I: nota doppiamente puntata,
 ES: nota con dos puntillos,
 I: nota doppiamente puntata,

-F: note doublement point@'ee,
+F: note doublement pointée,

 D: doppelt punktierte Note,
 NL: dubbelgepuncteerde noot,
 DK: dob@-belt@-punk@-te@-ret node,
 S: dub@-bel@-punk@-te@-rad not,
 D: doppelt punktierte Note,
 NL: dubbelgepuncteerde noot,
 DK: dob@-belt@-punk@-te@-ret node,
 S: dub@-bel@-punk@-te@-rad not,

-FI: kaksoispisteellinen nuotti,
-N: ?.
+FI: kaksoispisteellinen nuotti.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{double flat}
+@aitem{double flat}@c

 ES: doble bemol,
 I: doppio bemolle,
 ES: doble bemol,
 I: doppio bemolle,

-F: double b@'emol,
+F: double bémol,

 D: Doppel-B,
 NL: dubbelmol,
 DK: dob@-belt-b,
 S: dubbelbe,
 D: Doppel-B,
 NL: dubbelmol,
 DK: dob@-belt-b,
 S: dubbelbe,

-FI: kaksoisalennusmerkki,
-N: ?.
+FI: kaksoisalennusmerkki.

 
 @aref{accidental}.
 
 
 @aref{accidental}.
 

-@aitem{double sharp}
+@aitem{double sharp}@c

 ES: doble sostenido,
 I: doppio diesis,
 ES: doble sostenido,
 I: doppio diesis,

-F: double di@`ese,
+F: double dièse,

 D: Doppelkreuz,
 NL: dubbelkruis,
 DK: dob@-belt@-kryds,
 S: dubbelkors,
 D: Doppelkreuz,
 NL: dubbelkruis,
 DK: dob@-belt@-kryds,
 S: dubbelkors,

-FI: kaksoisylennysmerkki,
-N: ?.
+FI: kaksoisylennysmerkki.

 
 @aref{accidental}.
 
 
 @aref{accidental}.
 

-@aitem{double trill}
+@aitem{double trill}@c

 ES: trino doble,
 I: doppio trillo,
 F: trille double,
 ES: trino doble,
 I: doppio trillo,
 F: trille double,


@@ -1575,25 +1549,23 @@ D: Doppeltriller,
 NL: dubbele triller,
 DK: dobbelttrille,
 S: dubbeldrill,
 NL: dubbele triller,
 DK: dobbelttrille,
 S: dubbeldrill,

-FI: kaksoistrilli,
-N: ?.
+FI: kaksoistrilli.

 
 A simultaneous trill on two notes, usually in the distance of a third.
 
 
 A simultaneous trill on two notes, usually in the distance of a third.
 

-@aitem{duple meter}
+@aitem{duple meter}@c

 ES: tiempo binario,
 I: tempo binario,
 F: temps binaire,
 D: in zwei,
 NL: tweedelige maatsoort,
 DK: todelt takt,
 ES: tiempo binario,
 I: tempo binario,
 F: temps binaire,
 D: in zwei,
 NL: tweedelige maatsoort,
 DK: todelt takt,

-S: tv@aa{}takt,
-FI: kaksoistempo,
-N: ?.
+S: tvåtakt,
+FI: kaksoistempo.

 
 @aref{meter}.
 
 
 @aref{meter}.
 

-@aitem{duplet}
+@aitem{duplet}@c

 ES: dosillo,
 I: duina,
 F: duolet,
 ES: dosillo,
 I: duina,
 F: duolet,


@@ -1601,28 +1573,26 @@ D: Duole,
 NL: duool,
 DK: duol,
 S: duol,
 NL: duool,
 DK: duol,
 S: duol,

-FI: duoli,
-N: ?.
+FI: duoli.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{duration}
-ES: duraci@'on,
+@aitem{duration}@c
+ES: duración,

 I: durata,
 I: durata,

-F: dur@'ee,
-D: Dauer, L@"ange,
+F: durée,
+D: Dauer, Länge,

 NL: duur, lengte,
 DK: varighed,
 NL: duur, lengte,
 DK: varighed,

-S: tonl@"angd,
-FI: kesto, aika-arvo,
-N: ?.
+S: tonlängd,
+FI: kesto, aika-arvo.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{dydimic comma}
+@aitem{dydimic comma}@c

 @aref{syntonic comma}.
 
 @aref{syntonic comma}.
 

-@aitem{E}
+@aitem{E}@c

 ES: mi,
 I: mi,
 F: mi,
 ES: mi,
 I: mi,
 F: mi,


@@ -1630,10 +1600,9 @@ D: E, e,
 NL: e,
 DK: e,
 S: e,
 NL: e,
 DK: e,
 S: e,

-FI: E, e,
-N: e.
+FI: E, e.

 
 

-@aitem{eighth note}
+@aitem{eighth note}@c

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


@@ -1641,13 +1610,12 @@ UK: quaver,
 D: Achtel, Achtelnote,
 NL: achtste noot,
 DK: ottendedelsnode,
 D: Achtel, Achtelnote,
 NL: achtste noot,
 DK: ottendedelsnode,

-S: @aa{}ttondelsnot,
-FI: kahdeksasosanuotti,
-N: ?.
+S: åttondelsnot,
+FI: kahdeksasosanuotti.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{eighth rest}
+@aitem{eighth rest}@c

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


@@ -1655,13 +1623,12 @@ UK: quaver rest,
 D: Achtelpause,
 NL: achtste rust,
 DK: ottendedelspause,
 D: Achtelpause,
 NL: achtste rust,
 DK: ottendedelspause,

-S: @aa{}ttonddelspaus,
-FI: kahdeksasosatauko,
-N: ?.
+S: åttonddelspaus,
+FI: kahdeksasosatauko.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{engraving}
+@aitem{engraving}@c

 ES: Grabar
 I: incisione,
 F: gravure,
 ES: Grabar
 I: incisione,
 F: gravure,


@@ -1669,8 +1636,7 @@ D: Notenstechen, Notendruck
 NL: steken,
 DK: nodestik,
 S: nottryck,
 NL: steken,
 DK: nodestik,
 S: nottryck,

-FI: painatus,
-N: ?.
+FI: painatus.

 
 Engraving means incising or etching a metal plate for
 printing.  Photoengraving means drawing music with ink in a manner
 
 Engraving means incising or etching a metal plate for
 printing.  Photoengraving means drawing music with ink in a manner


@@ -1679,63 +1645,60 @@ 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.
 

-@aitem{enharmonic}
-ES: enharm@'onico,
+@aitem{enharmonic}@c
+ES: enharmónico,

 I: enarmonico,
 F: enharmonique,
 D: enharmonisch,
 NL: enharmonisch,
 DK: enharmonisk,
 S: enharmonisk,
 I: enarmonico,
 F: enharmonique,
 D: enharmonisch,
 NL: enharmonisch,
 DK: enharmonisk,
 S: enharmonisk,

-FI: enharmoninen,
-N: ?.
+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[notime]
-\property Score.automaticBars = ##f
-%\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
+@lilypond[fragment,notime,linewidth=13.0\cm]
+\set Score.automaticBars = ##f
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+\context Staff \relative c'' {

   gis1 s s as s s <des g,!> s s <cis g!> s s
 }
 \context Lyrics \lyrics {
   gis1 s s as s s <des g,!> s s <cis g!> s s
 }
 \context Lyrics \lyrics {

-  \property Lyrics . LyricText \set #'self-alignment-X = #-1
+  \override Lyrics .LyricText #'self-alignment-X = #-1

   "g sharp  " "a flat  " "dim fifth  " "augm fourth"
 }
 @end lilypond
 
   "g sharp  " "a flat  " "dim fifth  " "augm fourth"
 }
 @end lilypond
 

-@aitem{equal temperament}
+@aitem{equal temperament}@c

 ES: ?,
 I: temperamento equabile,
 ES: ?,
 I: temperamento equabile,

-F: temp@'erament @'egal,
+F: tempérament égal,

 D: gleichschwebende Stimmung,
 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
 D: gleichschwebende Stimmung,
 NL: ge@-lijk@-zwe@-ven@-de temperatuur,

-DK: ligesv@ae{}vende temperatur,
-S: liksv@"avande temperatur,
-FI: tasavireinen,
-N: ?.
+DK: ligesvævende temperatur,
+S: liksvävande temperatur,
+FI: tasavireinen.

 
 Tuning system dividing the octave into 12 equal @aref{semitone}s
 (precisely 100 @aref{cent}s).  @aref{temperament}.
 
 
 Tuning system dividing the octave into 12 equal @aref{semitone}s
 (precisely 100 @aref{cent}s).  @aref{temperament}.
 

-@aitem{expression mark}
+@aitem{expression mark}@c

 ES: ?,
 I: segno d'espressione,
 F: signe d'expression, indication de nuance,
 D: Vortragszeichen,
 NL: voordrachtsteken,
 DK: foredragsbetegnelse,
 ES: ?,
 I: segno d'espressione,
 F: signe d'expression, indication de nuance,
 D: Vortragszeichen,
 NL: voordrachtsteken,
 DK: foredragsbetegnelse,

-S: f@"oredragsbeteckning,
-FI: nyanssiosoitus, esitysmerkki,
-N: ?.
+S: föredragsbeteckning,
+FI: nyanssiosoitus, esitysmerkki.

 
 Performance indications concerning 1. volume, dynamics (for example
 @aref{forte}, @aref{crescendo}), 2. tempo (for example
 @aref{andante}, @aref{allegro}).
 
 
 Performance indications concerning 1. volume, dynamics (for example
 @aref{forte}, @aref{crescendo}), 2. tempo (for example
 @aref{andante}, @aref{allegro}).
 

-@aitem{F}
+@aitem{F}@c

 ES: fa,
 I: fa,
 F: fa,
 ES: fa,
 I: fa,
 F: fa,


@@ -1743,19 +1706,17 @@ D: F, f,
 NL: f,
 DK: f,
 S: f,
 NL: f,
 DK: f,
 S: f,

-FI: F, f,
-N: f.
+FI: F, f.

 
 

-@aitem{F clef}
+@aitem{F clef}@c

 ES: Clave de Fa,
 I: chiave di fa,
 ES: Clave de Fa,
 I: chiave di fa,

-F: cl@'e de fa,
-D: F-Schl@"ussel,
+F: clé de fa,
+D: F-Schlüssel,

 NL: F-sleutel,
 NL: F-sleutel,

-DK: F-n@o{}gle,
+DK: F-nøgle,

 S: f-klav,
 S: f-klav,

-FI: F-avain,
-N: ?.
+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
 
 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


@@ -1764,12 +1725,12 @@ an octave higher (for example bass recorder) while 8@w{ }below the clef
 symbol indicates playing an octave lower (for example on double bass
 @aref{strings}).
 
 symbol indicates playing an octave lower (for example on double bass
 @aref{strings}).
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-\property Staff.Clef \override #'full-size-change = ##t
-%\property Score.LyricText \set #'font-style = #'large
-\addlyrics
-\notes\relative c {
+@lilypond[fragment,notime,linewidth=13.0\cm]
+\set Score.automaticBars = ##f
+\override Staff.Clef #'full-size-change = ##t
+%\override Score.LyricText #'font-style = #'large
+\oldaddlyrics
+\relative c {

   \clef varbaritone
   f1
   \clef bass
   \clef varbaritone
   f1
   \clef bass


@@ -1782,7 +1743,7 @@ symbol indicates playing an octave lower (for example on double bass
   f1
 }
 \context Lyrics \lyrics {
   f1
 }
 \context Lyrics \lyrics {

-  \property Lyrics . LyricText \set #'self-alignment-X = #-1
+%  \override Lyrics .LyricText #'self-alignment-X = #-1

   "baritone  "
   "bass  "
   "sub-bass  "
   "baritone  "
   "bass  "
   "sub-bass  "


@@ -1793,27 +1754,26 @@ symbol indicates playing an octave lower (for example on double bass
 
 @c F:  'point d'orgue' on a note, 'point d'arret' on a rest.
 
 
 @c F:  'point d'orgue' on a note, 'point d'arret' on a rest.
 

-@aitem{fermata}
-ES: Calder@'on,
+@aitem{fermata}@c
+ES: Calderón,

 I: corona,
 F: point d'orgue, point d'arr@^et,
 D: Fermate,
 NL: fermate,
 DK: fermat,
 S: fermat,
 I: corona,
 F: point d'orgue, point d'arr@^et,
 D: Fermate,
 NL: fermate,
 DK: fermat,
 S: fermat,

-FI: fermaatti, pid@"ake,
-N: ?.
+FI: fermaatti, pidäke.

 
 Prolonged note or rest of indefinite duration.
 
 
 Prolonged note or rest of indefinite duration.
 

-@lilypond
+@lilypond[fragment,raggedright]

 \time 4/4
 \time 4/4

-\notes\relative c'' {
+\relative c'' {

   a4 b c2^\fermata \bar "|."
 }
 @end lilypond
 
   a4 b c2^\fermata \bar "|."
 }
 @end lilypond
 

-@aitem{fifth}
+@aitem{fifth}@c

 ES: quinta,
 I: quinta,
 F: quinte,
 ES: quinta,
 I: quinta,
 F: quinte,


@@ -1821,46 +1781,43 @@ D: Quinte,
 NL: kwint,
 DK: kvint,
 S: kvint,
 NL: kwint,
 DK: kvint,
 S: kvint,

-FI: kvintti,
-N: kvint.
+FI: kvintti.

 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitem{figured bass}
+@aitem{figured bass}@c

 ES: bajo cifrado, @aref{thorough bass}.
 
 ES: bajo cifrado, @aref{thorough bass}.
 

-@aitem{fingering}
-ES: digitaci@'on,
+@aitem{fingering}@c
+ES: digitación,

 I: diteggiatura,
 I: diteggiatura,

-F: doigt@'e,
+F: doigté,

 D: Fingersatz,
 NL: vingerzetting,
 D: Fingersatz,
 NL: vingerzetting,

-DK: fingers@ae{}tning,
-S: fingers@"attning,
-FI: sormitus,
-N: ?.
+DK: fingersætning,
+S: fingersättning,
+FI: sormitus.

 
 The methodical use of fingers in the playing of instruments.
 
 
 The methodical use of fingers in the playing of instruments.
 

-@aitem{flag,pennant}
+@aitemii{flag,pennant}@c

 ES: corchete,
 I: coda (uncinata), bandiera,
 F: crochet,
 ES: corchete,
 I: coda (uncinata), bandiera,
 F: crochet,

-D: Fahne, F@"ahnchen,
+D: Fahne, Fähnchen,

 NL: vlaggetje,
 DK: fane,
 S: flagga,
 NL: vlaggetje,
 DK: fane,
 S: flagga,

-FI: lippu, viiri,
-N: ?.
+FI: lippu, viiri.

 
 Ornament at the end of the stem of a note used for notes with values
 less than a quarter note.  The number of flags determines the
 @aref{note value}.
 
 
 Ornament at the end of the stem of a note used for notes with values
 less than a quarter note.  The number of flags determines the
 @aref{note value}.
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Score.TextScript \set #'font-style = #'large
-\notes\relative c'' {
+@lilypond[fragment,notime,raggedright]
+\set Score.automaticBars = ##f
+%\override Score.TextScript #'font-style = #'large
+\relative c'' {

   g8_"1/8" s8
   g16_"1/16" s8
   g32_"1/32" s8
   g8_"1/8" s8
   g16_"1/16" s8
   g32_"1/32" s8


@@ -1868,23 +1825,22 @@ less than a quarter note.  The number of flags determines the
 }
 @end lilypond
 
 }
 @end lilypond
 

-@aitem{flat}
+@aitem{flat}@c

 ES: bemol,
 I: bemolle,
 ES: bemol,
 I: bemolle,

-F: b@'emol,
+F: bémol,

 D: B, b,
 NL: mol,
 DK: b,
 D: B, b,
 NL: mol,
 DK: b,

-S: bef@"ortecken,
-FI: alennusmerkki,
-N: ?.
+S: beförtecken,
+FI: alennusmerkki.

 
 @aref{accidental}.
 
 
 @aref{accidental}.
 

-@aitemii{forefall,backfall}
+@aitemii{forefall,backfall}@c

 @aref{appoggiatura}.
 
 @aref{appoggiatura}.
 

-@aitem{forte}
+@aitem{forte}@c

 ES: forte,
 I: forte,
 F: forte,
 ES: forte,
 I: forte,
 F: forte,


@@ -1892,13 +1848,12 @@ D: forte, laut,
 NL: forte,
 DK: forte,
 S: forte,
 NL: forte,
 DK: forte,
 S: forte,

-FI: forte, voimakkaasti,
-N: ?.
+FI: forte, voimakkaasti.

 
 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
 @emph{mezzoforte} (@b{mf}) medium loud.
 
 
 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
 @emph{mezzoforte} (@b{mf}) medium loud.
 

-@aitem{fourth}
+@aitem{fourth}@c

 ES: cuarta,
 I: quarta,
 F: quarte,
 ES: cuarta,
 I: quarta,
 F: quarte,


@@ -1906,12 +1861,11 @@ D: Quarte,
 NL: kwart,
 DK: kvart,
 S: kvart,
 NL: kwart,
 DK: kvart,
 S: kvart,

-FI: kvartti,
-N: ?.
+FI: kvartti.

 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitem{fugue}
+@aitem{fugue}@c

 ES: fuga,
 I: fuga,
 F: fugue,
 ES: fuga,
 I: fuga,
 F: fugue,


@@ -1919,40 +1873,38 @@ D: Fuge,
 NL: fuga,
 DK: fuga,
 S: fuga,
 NL: fuga,
 DK: fuga,
 S: fuga,

-FI: fuuga,
-N: ?.
+FI: fuuga.

 
 @aref{counterpoint}.
 
 
 @aref{counterpoint}.
 

-@aitem{functional harmony}
-ES: armon@'{@dotless{i}}a funcional,
+@aitem{functional harmony}@c
+ES: armonía funcional,

 I: armonia funzionale,
 I: armonia funzionale,

-F: @'etude des functions,
+F: étude des functions,

 D: Funktionslehre,
 NL: functionele harmonie,
 DK: funktionsanalyse, funktionsharmonik,
 D: Funktionslehre,
 NL: functionele harmonie,
 DK: funktionsanalyse, funktionsharmonik,

-S: funktionsl@"ara,
-FI: harmoniaj@"arjestelm@"a,
-N: ?.
+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
 
 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).  Other are considered to be
+dominant (D, the chord on the fifth note).  Others are considered to be

 variants of the base chords.
 
 variants of the base chords.
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Score.LyricText \set #'font-style = #'large
-%\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-\context Voice \notes\relative c'' {
+@lilypond[fragment,notime,linewidth=13.0\cm]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+\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 > }
   <g e c >1 < a f d > < b g e >
   <c a f > < d b g > < e c a > < f d b > }

-\context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
+\context Lyrics \lyrics { T Sp Dp S D Tp "\ \ D{\\kern-5pt}$\\mid$" }

 @end lilypond
 
 @end lilypond
 

-@aitem{G}
+@aitem{G}@c

 ES: sol,
 I: sol,
 F: sol,
 ES: sol,
 I: sol,
 F: sol,


@@ -1960,19 +1912,17 @@ D: G, g,
 NL: g,
 DK: g,
 S: g,
 NL: g,
 DK: g,
 S: g,

-FI: G, g,
-N: g.
+FI: G, g.

 
 

-@aitem{G clef}
+@aitem{G clef}@c

 ES: Clave de sol,
 I: chiave di sol,
 ES: Clave de sol,
 I: chiave di sol,

-F: cl@'e de sol,
-D: G-Schl@"ussel, Violinschl@"ussel,
+F: clé de sol,
+D: G-Schlüssel, Violinschlüssel,

 NL: G-sleutel,
 NL: G-sleutel,

-DK: g-n@o{}gle,
+DK: g-nøgle,

 S: g-klav,
 S: g-klav,

-FI: G-avain,
-N: ?.
+FI: G-avain.

 
 A clef symbol indicating the G above central@w{ }C.  Used on the first
 and second note lines.  A digit 8 above the clef symbol indicates that
 
 A clef symbol indicating the G above central@w{ }C.  Used on the first
 and second note lines.  A digit 8 above the clef symbol indicates that


@@ -1980,12 +1930,12 @@ 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).
 
 indicates playing or singing an octave lower (most tenor parts in choral
 scores are notated like that).
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-\property Staff.Clef \set #'full-size-change = ##t
-%\property Score.LyricText \set #'font-style = #'large
-\addlyrics
-\notes\relative c'' {
+@lilypond[fragment,notime,linewidth=13.0\cm]
+\set Score.automaticBars = ##f
+\override Staff.Clef #'full-size-change = ##t
+%\override Score.LyricText #'font-style = #'large
+\oldaddlyrics
+\relative c'' {

   \clef french
   g1 s s
   \clef treble
   \clef french
   g1 s s
   \clef treble


@@ -1996,7 +1946,7 @@ scores are notated like that).
   g s s
 }
 \context Lyrics \lyrics {
   g s s
 }
 \context Lyrics \lyrics {

-  \property Lyrics . LyricText \set #'self-alignment-X = #-1
+  \override Lyrics .LyricText #'self-alignment-X = #-1

   "french violin clef  "
   "violin clef  "
   "octaved up  "
   "french violin clef  "
   "violin clef  "
   "octaved up  "


@@ -2004,7 +1954,7 @@ scores are notated like that).
 }
 @end lilypond
 
 }
 @end lilypond
 

-@aitem{glissando}
+@aitem{glissando}@c

 ES: glissando,
 I: glissando,
 F: glissando,
 ES: glissando,
 I: glissando,
 F: glissando,


@@ -2012,40 +1962,37 @@ D: Glissando,
 NL: glissando,
 DK: glissando,
 S: glissando,
 NL: glissando,
 DK: glissando,
 S: glissando,

-FI: glissando, liukuen,
-N: glissando.
+FI: glissando, liukuen.

 
 Letting the pitch slide fluently from one note to the other.
 
 
 Letting the pitch slide fluently from one note to the other.
 

-@aitem{grace notes}
-SP: ?,
+@aitem{grace notes}@c
+ES: ?,

 I: abbellimenti,
 F: fioriture,
 I: abbellimenti,
 F: fioriture,

-D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
+D: Verzierungen, Vorschläge, Vor@-schlags@-noten,

 NL: versieringen,
 DK: forsiringer,
 S: ornament,
 NL: versieringen,
 DK: forsiringer,
 S: ornament,

-FI: korunuotit,
-N: ?.
+FI: korunuotit.

 
 Notes printed in small types to indicate that their time values are not
 counted in the rhythm of the bar.  @aref{appoggiatura}.
 
 
 Notes printed in small types to indicate that their time values are not
 counted in the rhythm of the bar.  @aref{appoggiatura}.
 

-@aitem{grand staff}
+@aitem{grand staff}@c

 I: accolatura,
 F: accolade,
 D: Akkolade,
 NL: piano systeem,
 DK: klaversystem,
 I: accolatura,
 F: accolade,
 D: Akkolade,
 NL: piano systeem,
 DK: klaversystem,

-S: ackolad, b@"ojd klammer,
-FI: kaksoisnuottiviivasto,
-N: ?.
+S: ackolad, böjd klammer,
+FI: kaksoisnuottiviivasto.

 
 @aref{brace}.
 
 A combination of two staves with a brace.  Usually used for piano music.
 
 
 @aref{brace}.
 
 A combination of two staves with a brace.  Usually used for piano music.
 

-@aitem{grave}
+@aitem{grave}@c

 ES: grave,
 I: grave,
 F: grave,
 ES: grave,
 I: grave,
 F: grave,


@@ -2053,12 +2000,11 @@ D: grave, langsam,
 NL: grave, ernstig,
 DK: grave,
 S: grave,
 NL: grave, ernstig,
 DK: grave,
 S: grave,

-FI: grave, raskaasti,
-N: ?.
+FI: grave, raskaasti.

 
 Slow, solemn.
 
 
 Slow, solemn.
 

-@aitem{half note}
+@aitem{half note}@c

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


@@ -2067,13 +2013,12 @@ D: Halbe, halbe Note,
 NL: halve noot,
 DK: halvnode,
 S: halvnot,
 NL: halve noot,
 DK: halvnode,
 S: halvnot,

-FI: puolinuotti,
-N: ?.
+FI: puolinuotti.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{half rest}
-SP: ?,
+@aitem{half rest}@c
+ES: ?,

 I: pausa di minima,
 F: demi-pause,
 UK: minim rest,
 I: pausa di minima,
 F: demi-pause,
 UK: minim rest,


@@ -2081,27 +2026,25 @@ D: halbe Pause,
 NL: halve, rust,
 DK: halvnodespause,
 S: halvpaus,
 NL: halve, rust,
 DK: halvnodespause,
 S: halvpaus,

-FI: puolitauko,
-N: ?.
+FI: puolitauko.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{harmonic cadence}
-ES: cadencia (arm@'onica),
+@aitem{harmonic cadence}@c
+ES: cadencia (armónica),

 I: cadenza (armonica),
 F: cadence harmonique,
 D: Schlusskadenz,
 NL: harmonische cadens,
 DK: harmonisk kadence,
 S: (harmonisk) kadens,
 I: cadenza (armonica),
 F: cadence harmonique,
 D: Schlusskadenz,
 NL: harmonische cadens,
 DK: harmonisk kadence,
 S: (harmonisk) kadens,

-FI: harmoninen kadenssi,
-N: ?.
+FI: harmoninen kadenssi.

 
 

-Sequence of chords that terminate a musical phrase or
+A sequence of chords that terminates a musical phrase or

 section.  @aref{functional harmony}.
 
 section.  @aref{functional harmony}.
 

-@lilypond
-\notes\context PianoStaff <<
+@lilypond[fragment,raggedright]
+\context PianoStaff <<

   \context Staff = SA \relative c'' {
     \time 4/4
     \clef treble
   \context Staff = SA \relative c'' {
     \time 4/4
     \clef treble


@@ -2109,8 +2052,8 @@ section.  @aref{functional harmony}.
     \partial 4 < c g e >4 |
     < c a f > < b g d > < c g e >2
   }
     \partial 4 < c g e >4 |
     < c a f > < b g d > < c g e >2
   }

-%  %\property Score.LyricText \set #'font-style = #'large
-  \addlyrics
+%  %\override Score.LyricText #'font-style = #'large
+  \oldaddlyrics

   \context Staff = SB \relative c {
     \clef bass
     \partial 4 c4 | f, g c2
   \context Staff = SB \relative c {
     \clef bass
     \partial 4 c4 | f, g c2


@@ -2122,26 +2065,25 @@ section.  @aref{functional harmony}.
 >>
 @end lilypond
 
 >>
 @end lilypond
 

-@aitem{harmony}
-ES: armon@'{@dotless{i}}a,
+@aitem{harmony}@c
+ES: armonía,

 I: armonia,
 F: harmonie,
 D: Harmonie, Zusammenklang,
 NL: harmonie,
 DK: samklang,
 S: samklang,
 I: armonia,
 F: harmonie,
 D: Harmonie, Zusammenklang,
 NL: harmonie,
 DK: samklang,
 S: samklang,

-FI: harmonia, yhteissointi,
-N: ?.
+FI: harmonia, yhteissointi.

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

-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Score.TextScript \set #'font-style = #'large
-\context Voice \notes\relative c'' {
+@lilypond[fragment,notime,linewidth=13.0\cm]
+\set Score.automaticBars = ##f
+%\override Score.TextScript #'font-style = #'large
+\context Voice \relative c'' {

   <g g>1_"unisone  " s
   <g b>_"third  " s
   <g c>_"fourth  " s
   <g g>1_"unisone  " s
   <g b>_"third  " s
   <g c>_"fourth  " s


@@ -2154,10 +2096,10 @@ Consonances:
 
 Dissonances:
 
 
 Dissonances:
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Score.TextScript \set #'font-style = #'large
-\context Voice  \notes\relative c'' {
+@lilypond[fragment,notime,linewidth=13.0\cm]
+\set Score.automaticBars = ##f
+%\override Score.TextScript #'font-style = #'large
+\context Voice \relative c'' {

   <g a>1_"second  " s s
   <g f'>_"seventh  " s s
   <g a'>_"ninth" s s
   <g a>1_"second  " s s
   <g f'>_"seventh  " s s
   <g a'>_"ninth" s s


@@ -2166,21 +2108,20 @@ Dissonances:
 
 Three note harmony @aref{chord}.
 
 
 Three note harmony @aref{chord}.
 

-@aitem{homophony}
-ES: homofon@'{@dotless{i}}a,
+@aitem{homophony}@c
+ES: homofonía,

 I: omofonia,
 F: homophonie,
 D: Homophonie,
 NL: homofonie,
 DK: homofoni,
 S: homofoni,
 I: omofonia,
 F: homophonie,
 D: Homophonie,
 NL: homofonie,
 DK: homofoni,
 S: homofoni,

-FI: homofonia, yksi@"a@"anisyys,
-N: ?.
+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 @aref{polyphony}.
 
 
 Music in which one voice leads melodically followed by the other voices more
 or less in the same rhythm.  In contrast to @aref{polyphony}.
 

-@aitem{interval}
+@aitem{interval}@c

 ES: intervalo,
 I: intervallo,
 F: intervalle,
 ES: intervalo,
 I: intervallo,
 F: intervalle,


@@ -2188,21 +2129,20 @@ D: Intervall,
 NL: interval,
 DK: interval,
 S: intervall,
 NL: interval,
 DK: interval,
 S: intervall,

-FI: intervalli, kahden s@"avelen korkeusero,
-N: ?.
+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 (@aref{enharmonic}) and are called @emph{tritonus}
 because they consist of three @aref{whole tone}s.  The addition
 
 Difference in pitch between two notes.  Intervals may be perfect, minor, major,
 diminished, or augmented.  The augmented fourth and the diminished fifth are
 identical (@aref{enharmonic}) and are called @emph{tritonus}
 because they consist of three @aref{whole tone}s.  The addition

-of such two forms an octave.
-
-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Score.LyricText \set #'font-style = #'large
-%\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-\context Voice \notes\relative c'' {
+of such two intervals forms an octave.
+
+@lilypond[fragment,notime,linewidth=13.0\cm]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+\context Voice \relative c'' {

   < g g >1 s
   < g as >^"minor" s
   < g a! > s
   < g g >1 s
   < g as >^"minor" s
   < g a! > s


@@ -2213,119 +2153,115 @@ of such two forms an octave.
   < g bis >^"augm" s
 }
 \context Lyrics \lyrics {
   < g bis >^"augm" s
 }
 \context Lyrics \lyrics {

-  "unisone  " "second  " "second  " "second  "
-  "third   " "third  " "third  " "third  "
+  "unisone " "second " "second " "second "
+  "third  " "third " "third " "third"

 }
 @end lilypond
 
 }
 @end lilypond
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Score.LyricText \set #'font-style = #'large
-%\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
-  < g c >^"perfect" s
-  < g cis >^"augm"  s
-  < g d' >^"perfect"  s
-  < g des' > ^"dim" s
-  < gis es' >^"dimin"  s
-  < g! es' >^"minor"  s
-  < g e'! >^"major"  s
-  < g eis' >^"augm"  s
+@lilypond[fragment,notime,linewidth=13.0\cm]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+\context Staff \relative c'' {
+  < g c >1^"perfect" s
+  < g cis >^"augm" s
+  < g d' >^"perfect" s
+  < g des' > ^"dimin" s
+  < gis es' >^"dimin" s
+  < g! es' >^"minor" s
+  < g e'! >^"major" s
+  < g eis' >^"augm" s

 }
 \context Lyrics \lyrics {
   "fourth  " "fourth  " "fifth  " "fifth  "
 }
 \context Lyrics \lyrics {
   "fourth  " "fourth  " "fifth  " "fifth  "

-  "sixth  " "sixth  " "sixth  " "sixth  "
+  "sixth  " "sixth  " "sixth  " "sixth"

 }
 @end lilypond
 
 }
 @end lilypond
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Score.LyricText \set #'font-style = #'large
-%\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
-  < gis f'! >1^"dimin"  s
-  < g! f'! >^"minor"  s
-  < g fis' >^"major"  s
+@lilypond[fragment,notime,linewidth=13.0\cm]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+\context Staff \relative c'' {
+  < gis f'! >1^"dimin" s
+  < g! f'! >^"minor" s
+  < g fis' >^"major" s

   < g g' > s
   < g g' > s

-  < g as' >^"minor"  s
-  < g a'! >^"major"  s
-  < g bes' >^"minor"  s
-  < g b'! >^"major"  s
+  < g as' >^"minor" s
+  < g a'! >^"major" s
+  < g bes' >^"minor" s
+  < g b'! >^"major" s

 }
 \context Lyrics \lyrics {
 }
 \context Lyrics \lyrics {

-  "seventh  " "seventh  " "seventh  " "octave  "
-  "none  " "none  " "decime  " "decime  "
+  "seventh " "seventh " "seventh " "octave "
+  "none " "none " "decime " "decime"

 }
 @end lilypond
 
 }
 @end lilypond
 

-@aitem{inverted interval}
+@aitem{inverted interval}@c

 ES: intervalo invertido,
 I: intervallo rivolto,
 ES: intervalo invertido,
 I: intervallo rivolto,

-F: intervalle revers@'e,
+F: intervalle reversé,

 D: umgekehrtes Intervall,
 NL: interval inversie,
 DK: omvendingsinterval,
 D: umgekehrtes Intervall,
 NL: interval inversie,
 DK: omvendingsinterval,

-S: intervallets omv@"andning,
-FI: k@"a@"anteisintervalli,
-N: ?.
+S: intervallets omvändning,
+FI: käänteisintervalli.

 
 The difference between an interval and an octave.
 
 
 The difference between an interval and an octave.
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Score.TextScript \set #'font-style = #'large
-\context Staff \notes\relative c'' {
-  < g  a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
+@lilypond[fragment,notime,linewidth=13.0\cm]
+\set Score.automaticBars = ##f
+%\override Score.TextScript #'font-style = #'large
+\context Staff \relative c'' {
+  < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"

   < g, b >_"third  " s s < g' b, >_"sixth  " s s \bar "||"
   < g, c >_"fourth  " s s < g' c, >_"fifth  " s s \bar "||"
 }
 @end lilypond
 
   < g, b >_"third  " s s < g' b, >_"sixth  " s s \bar "||"
   < g, c >_"fourth  " s s < g' c, >_"fifth  " s s \bar "||"
 }
 @end lilypond
 

-@aitem{just intonation}
+@aitem{just intonation}@c

 I: intonazione giusta,
 F: intonation juste,
 D: reine Stimmung,
 NL: reine stemming,
 DK: ren stemning,
 I: intonazione giusta,
 F: intonation juste,
 D: reine Stimmung,
 NL: reine stemming,
 DK: ren stemning,

-S: ren st@"amning,
-FI: puhdas viritys,
-N: ?.
+S: ren stämning,
+FI: puhdas viritys.

 
 Tuning system in which the notes are obtained by adding and subtracting
 natural fifths and thirds.  @aref{temperament}.
 
 
 Tuning system in which the notes are obtained by adding and subtracting
 natural fifths and thirds.  @aref{temperament}.
 

-@aitem{key}
+@aitem{key}@c

 ES: tonalidad,
 ES: tonalidad,

-I: tonalit@`a,
-F: tonalit@'e,
+I: tonalità,
+F: tonalité,

 D: Tonart,
 NL: toonsoort,
 DK: toneart,
 S: tonart,
 D: Tonart,
 NL: toonsoort,
 DK: toneart,
 S: tonart,

-FI: tonaliteetti,
-N: ?.
+FI: tonaliteetti.

 
 According to the 12@w{ }tones of the @aref{chromatic scale}
 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
 @aref{key signature}.
 
 
 According to the 12@w{ }tones of the @aref{chromatic scale}
 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
 @aref{key signature}.
 

-@aitem{key signature}
+@aitem{key signature}@c

 ES: armadura de clave,
 I: armatura di chiave,
 ES: armadura de clave,
 I: armatura di chiave,

-F: armure, armature [de la cl@'e],
+F: armure, armature [de la clé],

 D: Vorzeichen, Tonart,
 NL: toon@-soort (voortekens),
 DK: faste fortegn,
 S: tonartssignatur,
 D: Vorzeichen, Tonart,
 NL: toon@-soort (voortekens),
 DK: faste fortegn,
 S: tonartssignatur,

-FI: s@"avellajiosoitus,
-N: ?.
+FI: sävellajiosoitus.

 
 The sharps or flats appearing at the beginning of each staff indicating the
 key of the music.  @aref{accidental}.
 
 
 The sharps or flats appearing at the beginning of each staff indicating the
 key of the music.  @aref{accidental}.
 

-@aitem{largo}
+@aitem{largo}@c

 ES: largo,
 I: largo,
 F: largo,
 ES: largo,
 I: largo,
 F: largo,


@@ -2333,13 +2269,12 @@ D: Largo, Langsam, Breit,
 NL: largo,
 DK: largo,
 S: largo,
 NL: largo,
 DK: largo,
 S: largo,

-FI: largo, hitaasti, leve@"asti,
-N: largo.
+FI: largo, hitaasti, leveästi.

 
 Very slow in tempo, usually combined with great
 expressiveness.  @emph{Larghetto} is less slow than largo.
 
 
 Very slow in tempo, usually combined with great
 expressiveness.  @emph{Larghetto} is less slow than largo.
 

-@aitem{leading note}
+@aitem{leading note}@c

 ES: sensible,
 I: sensibile,
 F: note sensible,
 ES: sensible,
 I: sensibile,
 F: note sensible,


@@ -2347,57 +2282,54 @@ D: Leitton,
 NL: leidtoon,
 DK: ledetone,
 S: ledton,
 NL: leidtoon,
 DK: ledetone,
 S: ledton,

-FI: johtos@"avel,
-N: ?.
+FI: johtosävel.

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

-@aitemii{ledger line,leger line}
-ES: l@'{@dotless{i}}neas adicionales,
+@aitemii{ledger line,leger line}@c
+ES: líneas adicionales,

 I: tagli addizionali,
 I: tagli addizionali,

-F: ligne suppl@'ementaire,
+F: ligne supplémentaire,

 D: Hilfslinie,
 NL: hulplijntje,
 D: Hilfslinie,
 NL: hulplijntje,

-DK: hj@ae{}lpelinie,
-S: hj@"alplinje,
-FI: apuviiva,
-N: ?.
+DK: hjælpelinie,
+S: hjälplinje,
+FI: apuviiva.

 
 A ledger line is an extension of the staff.
 
 
 A ledger line is an extension of the staff.
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-\notes\relative c'' { a,1 s c'' }
+@lilypond[fragment,notime,raggedright]
+\set Score.automaticBars = ##f
+\relative c'' { a,1 s c'' }

 @end lilypond
 
 @end lilypond
 

-@aitem{legato}
+@aitem{legato}@c

 ES: ligado,
 I: legato,
 ES: ligado,
 I: legato,

-F: legato, li@'e,
+F: legato, lié,

 D: legato,
 NL: legato,
 DK: legato,
 S: legato,
 D: legato,
 NL: legato,
 DK: legato,
 S: legato,

-FI: legato, sitoen,
-N: ?.
+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
+To be performed (a) without any perceptible interruption between the notes, 
+unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and

 (d) @aref{staccato}.
 
 (d) @aref{staccato}.
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-\addlyrics
-\context Staff \notes\relative c'' {
+@lilypond[fragment,notime,linewidth=13.0\cm]
+\set Score.automaticBars = ##f
+\oldaddlyrics
+\context Staff \relative c'' {

   c4-( d e-) \bar "||"
   c4-- d-- e-- \bar "||"
   c4-.-( d-. e-.-) \bar "||"
   c4-. d-. e-. \bar "||"
 }
 \context Lyrics \lyrics {
   c4-( d e-) \bar "||"
   c4-- d-- e-- \bar "||"
   c4-.-( d-. e-.-) \bar "||"
   c4-. d-. e-. \bar "||"
 }
 \context Lyrics \lyrics {

-%  \property Lyrics . LyricText \set #'font-style = #'large
+%  \override Lyrics .LyricText #'font-style = #'large

   a
   b "" ""
   c
   a
   b "" ""
   c


@@ -2405,50 +2337,57 @@ unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato} and
 }
 @end lilypond
 
 }
 @end lilypond
 

-@aitem{legato curve}
+@aitem{legato curve}@c

 @aref{slur}, @aref{legato}.
 
 @aref{slur}, @aref{legato}.
 

-@aitem{lilypond}
+@aitem{lilypond}@c

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

-F: @'etang de lis,
+F: étang de lis,

 UK: lily pond,
 D: Seerosenteich,
 NL: le@-lie@-vij@-ver,
 DK: liliedam,
 S: liljedamm,
 UK: lily pond,
 D: Seerosenteich,
 NL: le@-lie@-vij@-ver,
 DK: liliedam,
 S: liljedamm,

-FI: liljalampi,
-N: ?.
+FI: liljalampi.

 
 A pond with lilies floating in it, also the name of a music typesetter.
 
 
 A pond with lilies floating in it, also the name of a music typesetter.
 

-@aitem{line}
-ES: l@'{@dotless{i}}nea,
+@aitem{ligature}@c
+A ligature is a coherent graphical symbol that represents at least two
+distinct notes.  Ligatures originally appeared in the manuscripts of
+Gregorian chant notation roughly since the 9th century to denote
+ascending or descending sequences of notes.  In early notation,
+ligatures were used for monophonic tunes (Gregorian chant) and very
+soon denoted also the way of performance in the sense of articulation.
+With the invention of the metric system of the white mensural
+notation, the need for ligatures to denote such patterns disappeared.
+
+@aitem{line}@c
+ES: línea,

 I: linea,
 F: ligne,
 D: Linie, Notenlinie,
 NL: lijn,
 DK: nodelinie,
 S: notlinje,
 I: linea,
 F: ligne,
 D: Linie, Notenlinie,
 NL: lijn,
 DK: nodelinie,
 S: notlinje,

-FI: viiva, nuottiviiva,
-N: ?.
+FI: viiva, nuottiviiva.

 
 @aref{staff}.
 
 
 @aref{staff}.
 

-@aitem{long appoggiatura}
+@aitem{long appoggiatura}@c

 ES: apoyatura larga,
 I: appoggiatura lunga,
 F: appoggiature longue,
 D: langer Vorschlag,
 NL: Lange voorslag,
 DK: langt forslag,
 ES: apoyatura larga,
 I: appoggiatura lunga,
 F: appoggiature longue,
 D: langer Vorschlag,
 NL: Lange voorslag,
 DK: langt forslag,

-S: l@aa{}ngt f@"orslag,
-FI: pitk@"a appoggiatura, pitk@"a etuhele,
-N: ?.
+S: långt förslag,
+FI: pitkä appoggiatura, pitkä etuhele.

 
 @aref{appoggiatura}.
 
 
 @aref{appoggiatura}.
 

-@aitem{longa}
+@aitem{longa}@c

 ES: longa,
 I: longa,
 F: longa,
 ES: longa,
 I: longa,
 F: longa,


@@ -2456,45 +2395,42 @@ D: Longa,
 NL: longa,
 DK: longa,
 S: longa,
 NL: longa,
 DK: longa,
 S: longa,

-FI: longa,
-N: longa.
+FI: longa.

 
 Note value: double length of @aref{breve}.
 @aref{note value}.
 
 
 Note value: double length of @aref{breve}.
 @aref{note value}.
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-\notes\relative c'' {
-  \property Voice.NoteHead \set #'style = #'mensural
+@lilypond[fragment,notime,raggedright]
+\set Score.automaticBars = ##f
+\relative c'' {
+  \override NoteHead #'style = #'mensural

   g\longa
 }
 @end lilypond
 
   g\longa
 }
 @end lilypond
 

-@aitemii{lyrics,song texts}
+@aitemii{lyrics,song texts}@c

 ES: .,
 I: .,
 F: .,
 ES: .,
 I: .,
 F: .,

-D: .,
+D: Liedtext,

 NL: liedtekst,
 DK: .,
 S: .,
 NL: liedtekst,
 DK: .,
 S: .,

-FI, sanoitus,
-N: ..
+FI, sanoitus.

 
 

-@aitem{major interval}
+@aitem{major interval}@c

 ES: intervalo mayor,
 I: intervallo maggiore,
 F: intervalle majeur,
 ES: intervalo mayor,
 I: intervallo maggiore,
 F: intervalle majeur,

-D: gro@ss{}es Intervall,
+D: großes Intervall,

 NL: groot interval,
 DK: stort interval,
 S: stort intervall,
 NL: groot interval,
 DK: stort interval,
 S: stort intervall,

-FI: suuri intervalli,
-N: ?.
+FI: suuri intervalli.

 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitem{major}
+@aitem{major}@c

 ES: mayor,
 I: maggiore,
 F: [mode] majeur,
 ES: mayor,
 I: maggiore,
 F: [mode] majeur,


@@ -2502,142 +2438,134 @@ D: Dur,
 NL: majeur,
 DK: dur,
 S: dur,
 NL: majeur,
 DK: dur,
 S: dur,

-FI: duuri,
-N: dur.
+FI: duuri.

 
 @aref{diatonic scale}.
 
 
 @aref{diatonic scale}.
 

-@aitem{meantone temperament}
+@aitem{meantone temperament}@c

 I: accordatura mesotonica,
 I: accordatura mesotonica,

-F: temp@'erament m@'esotonique,
-D: mittelt@"onige Stimmung,
+F: tempérament mésotonique,
+D: mitteltönige Stimmung,

 NL: middenstemming, middentoonstemming,
 DK: middeltonetemperatur,
 S: medeltonstemperatur,
 NL: middenstemming, middentoonstemming,
 DK: middeltonetemperatur,
 S: medeltonstemperatur,

-FI: keskis@"avelviritys,
-N: ?.
+FI: keskisävelviritys.

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

-@aitem{measure, bar}
-ES: comp@'as,
+@aitemii{measure,bar}@c
+ES: compás,

 I: misura, battuta,
 F: mesure,
 D: Takt,
 NL: maat,
 DK: takt,
 S: takt,
 I: misura, battuta,
 F: mesure,
 D: Takt,
 NL: maat,
 DK: takt,
 S: takt,

-FI: tahti,
-N: takt.
+FI: tahti.

 
 A group of @aref{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.  @aref{meter}.
 
 
 A group of @aref{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.  @aref{meter}.
 

-@aitem{mediant}
+@aitem{mediant}@c

 ES: mediante,
 I: mediante, modale,
 ES: mediante,
 I: mediante, modale,

-F: m@'ediante,
+F: médiante,

 NL: mediant,
 D: Mediante,
 DK: mediant,
 S: mediant,
 NL: mediant,
 D: Mediante,
 DK: mediant,
 S: mediant,

-FI: keskis@"avel,
-N: ?.
+FI: keskisävel.

 
 

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

-@aitem{melisma}
-
+@aitem{melisma}@c

 NL: melisma, 
 NL: melisma, 

-FI: melisma, laulettavan tavun s@"avelkuvio, 
+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: melismata) is a group of notes or tones sung on one
 syllable in plainsong
 

-@aitem{melodic cadence}
+@aitem{melodic cadence}@c

 @aref{cadenza}.
 
 @aref{cadenza}.
 

-@aitem{meter, time}
-ES: comp@'as,
+@aitemii{meter,time}@c
+ES: compás,

 I: tempo, metro,
 I: tempo, metro,

-F: indication de m@'esure,
+F: indication de mésure,

 D: Taktart, Metrum,
 NL: maatsoort,
 DK: taktart,
 S: taktart,
 D: Taktart, Metrum,
 NL: maatsoort,
 DK: taktart,
 S: taktart,

-FI: aika-arvo,
-N: ?.
+FI: aika-arvo.

 
 The basic scheme of @aref{note value}s and
 @aref{accent}s which remains unaltered throughout a composition
 or a section of it.  For instance, 3/4 meter means that the basic
 @aref{note value}s are quarter notes and that a
 @aref{measure} consists of three of those.  According to
 
 The basic scheme of @aref{note value}s and
 @aref{accent}s which remains unaltered throughout a composition
 or a section of it.  For instance, 3/4 meter means that the basic
 @aref{note value}s are quarter notes and that a
 @aref{measure} consists of three of those.  According to

-whether there are two, three or four units to the measure,
+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.
 
 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.
 

-@lilypond
-\notes\relative c'' {
+@lilypond[fragment,linewidth=13.0\cm]
+\relative c'' {

   \time 3/4
   \key f \major
   c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
 @end lilypond
 
   \time 3/4
   \key f \major
   c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
 @end lilypond
 

-@lilypond
-\notes\relative c' {
+@lilypond[fragment,linewidth=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 "||"}
 @end lilypond
 
   \time 6/8
   \key f \major
   f8 f f f a16 g a f |
   c'8 c c c e16 d e c \bar "||"}
 @end lilypond
 

-@lilypond
-\notes\relative c'' {
+@lilypond[fragment,linewidth=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 "||"}
 @end lilypond
 
   \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 "||"}
 @end lilypond
 

-@aitem{metronome}
-ES: metr@'onomo,
+@aitem{metronome}@c
+ES: metrónomo,

 I: metronomo,
 I: metronomo,

-F: m@'etronome,
+F: métronome,

 D: Metronom,
 NL: metronoom,
 DK: me@-tro@-nom,
 S: me@-tro@-nom,
 D: Metronom,
 NL: metronoom,
 DK: me@-tro@-nom,
 S: me@-tro@-nom,

-FI: metronomi,
-N: metronom.
+FI: metronomi.

 
 Device indicating the exact tempo of a piece.  @aref{metronomic
 indication}.
 
 
 Device indicating the exact tempo of a piece.  @aref{metronomic
 indication}.
 

-@aitem{metronomic indication}
-ES: indicaci@'on metron@'omica,
+@aitem{metronomic indication}@c
+ES: indicación metronómica,

 I: indicazione metronomica,
 I: indicazione metronomica,

-F: indication m@'etronomique,
+F: indication métronomique,

 D: Metronomangabe,
 NL: metronoom aanduiding,
 DK: metronomtal,
 S: metronomangivelse,
 D: Metronomangabe,
 NL: metronoom aanduiding,
 DK: metronomtal,
 S: metronomangivelse,

-FI: metronomiosoitus,
-N: ?.
+FI: metronomiosoitus.

 
 Exact tempo indication (in beats per minute).  Also denoted by
 
 Exact tempo indication (in beats per minute).  Also denoted by

-M.M. (M@"alzels Metronom).
+M.M.@: (Mälzels Metronom).

 
 

-@aitem{mezzo-soprano}
+@aitem{mezzo-soprano}@c

 ES: mezzo soprano,
 I: mezzo-soprano,
 F: mezzo-soprano,
 ES: mezzo soprano,
 I: mezzo-soprano,
 F: mezzo-soprano,


@@ -2645,13 +2573,12 @@ D: Mezzosopran,
 NL: mezzosopraan,
 DK: mezzosopran,
 S: mezzosopran,
 NL: mezzosopraan,
 DK: mezzosopran,
 S: mezzosopran,

-FI: mezzosopraano,
-N: mezzosopran.
+FI: mezzosopraano.

 
 The female voice between @aref{soprano} and
 @aref{contralto}.
 
 
 The female voice between @aref{soprano} and
 @aref{contralto}.
 

-@aitem{middle C}
+@aitem{middle C}@c

 ES: do central,
 I: do centrale,
 F: do central,
 ES: do central,
 I: do centrale,
 F: do central,


@@ -2659,22 +2586,21 @@ D: eingestrichenes@w{ }c,
 NL: centrale@w{ }c,
 DK: enstreget@w{ }c,
 S: ettstruket@w{ }c,
 NL: centrale@w{ }c,
 DK: enstreget@w{ }c,
 S: ettstruket@w{ }c,

-FI: keski-C,
-N: ?.
+FI: keski-C.

 
 First C below the 440 Hz A.
 
 
 First C below the 440 Hz A.
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-\property Staff.Clef \set #'full-size-change = ##t
-\notes\relative c' {
+@lilypond[fragment,notime,raggedright]
+\set Score.automaticBars = ##f
+\override Staff.Clef #'full-size-change = ##t
+\relative c' {

   \clef bass c1 s
   \clef alto c s
   \clef treble c s
 }
 @end lilypond
 
   \clef bass c1 s
   \clef alto c s
   \clef treble c s
 }
 @end lilypond
 

-@aitem{minor}
+@aitem{minor}@c

 ES: menor,
 I: minore,
 F: mode mineur,
 ES: menor,
 I: minore,
 F: mode mineur,


@@ -2682,12 +2608,11 @@ D: Moll,
 NL: mineur,
 DK: mol,
 S: moll,
 NL: mineur,
 DK: mol,
 S: moll,

-FI: molli,
-N: ?.
+FI: molli.

 
 @aref{diatonic scale}.
 
 
 @aref{diatonic scale}.
 

-@aitem{minor interval}
+@aitem{minor interval}@c

 ES: intervalo mayor,
 I: intervallo minore,
 F: intervalle mineur,
 ES: intervalo mayor,
 I: intervallo minore,
 F: intervalle mineur,


@@ -2695,12 +2620,11 @@ D: kleines Intervall,
 NL: klein interval,
 DK: lille interval,
 S: litet intervall,
 NL: klein interval,
 DK: lille interval,
 S: litet intervall,

-FI: pieni intervalli,
-N: ?.
+FI: pieni intervalli.

 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitem{mode}
+@aitem{mode}@c

 ES: modo,
 I: modo,
 F: mode,
 ES: modo,
 I: modo,
 F: mode,


@@ -2708,40 +2632,37 @@ D: Modus,
 NL: modus,
 DK: skala,
 S: modus, skala,
 NL: modus,
 DK: skala,
 S: modus, skala,

-FI: moodi, kirkkos@"avelasteikko,
-N: ?.
+FI: moodi, kirkkosävelasteikko.

 
 @aref{church mode}, @aref{diatonic scale}.
 
 
 @aref{church mode}, @aref{diatonic scale}.
 

-@aitem{modulation}
-ES: modulaci@'on,
+@aitem{modulation}@c
+ES: modulación,

 I: modulazione,
 F: modulation,
 D: Modulation,
 NL: modulatie,
 DK: modulation,
 S: modulering,
 I: modulazione,
 F: modulation,
 D: Modulation,
 NL: modulatie,
 DK: modulation,
 S: modulering,

-FI: modulaatio, s@"avellajin vaihdos,
-N: ?.
+FI: modulaatio, sävellajin vaihdos.

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

-@aitem{mordent}
+@aitem{mordent}@c

 I: mordente,
 F: mordant,
 D: Mordent,
 NL: mordent,
 DK: mordent,
 S: mordent,
 I: mordente,
 F: mordant,
 D: Mordent,
 NL: mordent,
 DK: mordent,
 S: mordent,

-FI: mordent, korukuvio,
-N: ?.
+FI: mordent, korukuvio.

 
 @aref{ornament}.
 
 
 @aref{ornament}.
 

-@aitemii{motive,motif}
+@aitemii{motive,motif}@c

 ES: tema,
 I: inciso,
 F: incise,
 ES: tema,
 I: inciso,
 F: incise,


@@ -2749,16 +2670,15 @@ D: Motiv,
 NL: motief,
 DK: motiv,
 S: motiv,
 NL: motief,
 DK: motiv,
 S: motiv,

-FI: teema, s@"avelaihe,
-N: ?.
+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
-\property Score.TimeSignature \override #'style = \turnOff
-%\property Score.TextScript \set #'font-style = #'large
-\notes\relative c'' {
+@lilypond[fragment,linewidth=13.0\cm]
+\override Score.TimeSignature #'break-visibility = #all-invisible
+%\override Score.TextScript #'font-style = #'large
+\relative c'' {

   \time 4/4
   \key g \major
   \partial 8 g16_"------" fis |
   \time 4/4
   \key g \major
   \partial 8 g16_"------" fis |


@@ -2767,7 +2687,7 @@ subject.
 }
 @end lilypond
 
 }
 @end lilypond
 

-@aitem{movement}
+@aitem{movement}@c

 ES: movimiento,
 I: movimento,
 F: mouvement,
 ES: movimiento,
 I: movimento,
 F: mouvement,


@@ -2775,14 +2695,13 @@ D: Satz,
 NL: deel,
 DK: sats,
 S: sats,
 NL: deel,
 DK: sats,
 S: sats,

-FI: osa,
-N: ?.
+FI: osa.

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

-@aitem{multibar rest}
+@aitem{multibar rest}@c

 ES: compases de espera,
 I: pausa multipla,
 F: pause multiple,
 ES: compases de espera,
 I: pausa multipla,
 F: pause multiple,


@@ -2790,53 +2709,50 @@ NL: meermaats rust,
 D: mehrtaktige Pause,
 DK: flertaktspause,
 S: flertaktspaus,
 D: mehrtaktige Pause,
 DK: flertaktspause,
 S: flertaktspaus,

-FI: usean tahdin mittainen tauko,
-N: ?.
+FI: usean tahdin mittainen tauko.

 
 

-@lilypond
-\notes\relative c'' {
+@lilypond[fragment,raggedright]
+\relative c'' {

   a1
   a1

-  \property Score.skipBars=##t R1*3
+  \set Score.skipBars = ##t R1*3

   a1
 }
 @end lilypond
 
   a1
 }
 @end lilypond
 

-@aitem{mixolydian mode}
+@aitem{mixolydian mode}@c

 @aref{diatonic scale}.
 
 @aref{diatonic scale}.
 

-@aitem{natural sign}
+@aitem{natural sign}@c

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

-F: b@'ecarre,
-D: Aufl@"osungszeichen,
+F: bécarre,
+D: Auflösungszeichen,

 NL: herstellingsteken,
 NL: herstellingsteken,

-DK: op@-l@o{}sningstegn,
-S: @aa{}terst@"allningstecken,
-FI: palautusmerkki,
-N: ?.
+DK: op@-løsningstegn,
+S: återställningstecken,
+FI: palautusmerkki.

 
 @aref{accidental}.
 
 
 @aref{accidental}.
 

-@aitem{neighbour tones}
+@aitem{neighbour tones}@c

 @aref{appoggiatura}.
 
 @aref{appoggiatura}.
 

-@aitem{ninth}
+@aitem{ninth}@c

 ES: novena,
 I: nona,
 ES: novena,
 I: nona,

-F: neuvi@`eme,
+F: neuvième,

 D: None,
 NL: noon,
 DK: none,
 S: nona,
 D: None,
 NL: noon,
 DK: none,
 S: nona,

-FI: nooni,
-N: ?.
+FI: nooni.

 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitem{non-legato}
+@aitem{non-legato}@c

 @aref{legato}.
 
 @aref{legato}.
 

-@aitem{note}
+@aitem{note}@c

 ES: nota,
 I: nota,
 F: note,
 ES: nota,
 I: nota,
 F: note,


@@ -2844,8 +2760,7 @@ D: Note,
 NL: noot,
 DK: node,
 S: not,
 NL: noot,
 DK: node,
 S: not,

-FI: nuotti,
-N: ?,
+FI: nuotti.

 
 Notes are signs by means of which music is fixed in writing.  The term is also
 used for the sound indicated by a note, and even for the key of the piano
 
 Notes are signs by means of which music is fixed in writing.  The term is also
 used for the sound indicated by a note, and even for the key of the piano


@@ -2853,7 +2768,7 @@ which produces the sound.  However, a clear distinction between the terms tone
 and @aref{note} is strongly recommended.  Briefly, one sees a note,
 and hears a tone.
 
 and @aref{note} is strongly recommended.  Briefly, one sees a note,
 and hears a tone.
 

-@aitem{note head}
+@aitem{note head}@c

 ES: oval,
 I: testa, testina, capocchia,
 F: t@^ete de la note,
 ES: oval,
 I: testa, testina, capocchia,
 F: t@^ete de la note,


@@ -2861,47 +2776,45 @@ D: Notenkopf,
 NL: nootballetje,
 DK: nodehovede,
 S: nothuvud,
 NL: nootballetje,
 DK: nodehovede,
 S: nothuvud,

-FI: nuotin p@"a@"a,
-N: ?.
+FI: nuotin pää.

 
 

-A head like sign which indicates pitch by its position on a
+A head-like sign which indicates pitch by its position on a

 @aref{staff} provided with a @aref{clef}, and duration
 by a variety of shapes such as hollow or black heads with or without
 @aref{stem}s, @aref{flag}s, etc.  For percussion
 instruments (often having no defined pitch) the note head may indicate the
 instrument.
 
 @aref{staff} provided with a @aref{clef}, and duration
 by a variety of shapes such as hollow or black heads with or without
 @aref{stem}s, @aref{flag}s, etc.  For percussion
 instruments (often having no defined pitch) the note head may indicate the
 instrument.
 

-@aitem{note value}
+@aitem{note value}@c

 ES: valor,
 I: valore, durata,
 ES: valor,
 I: valore, durata,

-F: dur@'ee, valeur (d'une note),
+F: durée, valeur (d'une note),

 D: Notenwert,
 NL: nootwaarde,
 D: Notenwert,
 NL: nootwaarde,

-DK nodev@ae{}rdi,
-S: notv@"arde,
-FI: nuotin aika-arvo,
-N: ?.
+DK nodeværdi,
+S: notvärde,
+FI: nuotin aika-arvo.

 
 Note values (durations) are measured as fractions, normally 1/2, of the next
 higher note value.  The longest duration normally used is called @emph{brevis},
 
 Note values (durations) are measured as fractions, normally 1/2, of the next
 higher note value.  The longest duration normally used is called @emph{brevis},

-but sometimes (mostly in pre baroque music) the double length note value
+but sometimes (mostly in pre-baroque music) the double length note value

 @emph{longa} is used.
 
 @emph{longa} is used.
 

-@lilypond[notime]
-%\property Score.TextScript \set #'font-style = #'large
-\property Score.automaticBars = ##f
-\notes\relative c'' {
-  \property Voice.NoteHead \override #'style = #'mensural
-  g\longa_"longa" g\breve_"breve"
-  \property Voice.NoteHead \revert #'style
-  g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
-  g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
+@lilypond[fragment,notime,linewidth=13.0\cm]
+%\override Score.TextScript #'font-style = #'large
+\set Score.automaticBars = ##f
+\relative c'' {
+  \override NoteHead #'style = #'mensural
+  a\longa_"longa" a\breve_"breve"
+  \revert NoteHead #'style
+  a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
+  a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }

 @end lilypond
 
 @end lilypond
 

-@lilypond[notime]
-%\property Score.TextScript \set #'font-style = #'large
-\property Score.automaticBars = ##f
-\notes\relative c'' {
+@lilypond[fragment,notime,linewidth=13.0\cm]
+%\override Score.TextScript #'font-style = #'large
+\set Score.automaticBars = ##f
+\relative c'' {

   r\longa_"longa" r\breve_"breve"
   r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
   r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
   r\longa_"longa" r\breve_"breve"
   r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
   r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }


@@ -2910,9 +2823,9 @@ but sometimes (mostly in pre baroque music) the double length note value
 An augmentation dot after a note multiplies the duration by one and a
 half.  Another dot adds yet a fourth of the duration.
 
 An augmentation dot after a note multiplies the duration by one and a
 half.  Another dot adds yet a fourth of the duration.
 

-@lilypond
-%\property Score.TextScript \set #'font-style = #'large
-\notes\relative c'' {
+@lilypond[fragment,linewidth=13.0\cm]
+%\override Score.TextScript #'font-style = #'large
+\relative c'' {

   \time 4/4
   g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
   g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
   \time 4/4
   g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
   g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }


@@ -2923,17 +2836,17 @@ subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
 dotted notes are also frequently used.
 
 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
 dotted notes are also frequently used.
 

-@lilypond
-%\property Score.TextScript \set #'font-style = #'large
-\notes\relative c'' {
+@lilypond[fragment,linewidth=13.0\cm]
+%\override Score.TextScript #'font-style = #'large
+\relative c'' {

   \time 4/4
   \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
   \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
 }
 @end lilypond
 
   \time 4/4
   \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
   \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
 }
 @end lilypond
 

-@lilypond
-\notes\relative c'' {
+@lilypond[fragment,linewidth=13.0\cm]
+\relative c'' {

   \time 3/4
   \times 3/2 {g4_"duplets" g} |
   g4 g g \bar "||"
   \time 3/4
   \times 3/2 {g4_"duplets" g} |
   g4 g g \bar "||"


@@ -2942,10 +2855,10 @@ dotted notes are also frequently used.
 }
 @end lilypond
 
 }
 @end lilypond
 

-@aitem{octave sign}
+@aitem{octave sign}@c

 @aref{G clef}, @aref{F clef}.
 
 @aref{G clef}, @aref{F clef}.
 

-@aitem{octave}
+@aitem{octave}@c

 ES: octava,
 I: ottava,
 F: octave,
 ES: octava,
 I: ottava,
 F: octave,


@@ -2953,21 +2866,19 @@ D: Oktave,
 NL: octaaf,
 DK: oktav,
 S: oktav,
 NL: octaaf,
 DK: oktav,
 S: oktav,

-FI: oktaavi,
-N: ?.
+FI: oktaavi.

 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitemiii{ornament,embellishment,accessory}
+@aitemiii{ornament,embellishment,accessory}@c

 ES: adorno,
 I: abbellimento, fioriture,
 ES: adorno,
 I: abbellimento, fioriture,

-F: agr@'ement, ornement,
+F: agrément, ornement,

 D: Verzierung, Ornament,
 NL: versiering,
 DK: forsiring,
 S: ornament,
 D: Verzierung, Ornament,
 NL: versiering,
 DK: forsiring,
 S: ornament,

-FI: koru, hele,
-N: ?.
+FI: koru, hele.

 
 Most commonly used is the @emph{trill}, the rapid alternation of a given note
 with the diatonic @aref{second} above it.  In the music from the
 
 Most commonly used is the @emph{trill}, the rapid alternation of a given note
 with the diatonic @aref{second} above it.  In the music from the


@@ -2975,38 +2886,38 @@ middle of the 19th century and onwards the trill is performed with the main
 note first while in the music from the preceding baroque and classic periods
 the upper note is played first.
 
 note first while in the music from the preceding baroque and classic periods
 the upper note is played first.
 

-@lilypond
+@lilypond[fragment,linewidth=13.0\cm]

 <<
   \context Staff = sa {
 <<
   \context Staff = sa {

-%        \property Score.TextScript \set #'font-style = #'large
-    \notes\relative c'' {
-      c2._"pre-1850"  b4\trill | c1 \bar "||"
+% \override Score.TextScript #'font-style = #'large
+    \relative c'' {
+      c2._"pre-1850" b4\trill | c1 \bar "||"

       c2._"post-1850" b4\trill | c1 \bar "||"
     }
   }
       c2._"post-1850" b4\trill | c1 \bar "||"
     }
   }

-  \notes\relative c'' {
+  \relative c'' {

     c2. c32 b c b c b c b | c1
     c2. b32 c b c \times 4/5 { b c b c b } | c1
   }
 >>
 @end lilypond
 
     c2. c32 b c b c b c b | c1
     c2. b32 c b c \times 4/5 { b c b c b } | c1
   }
 >>
 @end lilypond
 

-Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
+Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the

 @emph{prall} (inverted mordent).
 
 @emph{prall} (inverted mordent).
 

-@lilypond
+@lilypond[fragment,linewidth=13.0\cm]

 <<
   \context Staff = sa {
 <<
   \context Staff = sa {

-%        \property Score.TextScript \set #'font-style = #'large
-    \notes\relative c'' {
+% \override Score.TextScript #'font-style = #'large
+    \relative c'' {

       a4_"turn" b\turn c2 \bar "||"
       g4_"mordent" a b\mordent a \bar "||"
       e'4_"prall" d\prall c2 \bar "||"
     }
   }
       a4_"turn" b\turn c2 \bar "||"
       g4_"mordent" a b\mordent a \bar "||"
       e'4_"prall" d\prall c2 \bar "||"
     }
   }

-  \notes\relative c'' {
+  \relative c'' {

     a4 c16[ b a b] c2
     a4 c16[ b a b] c2

-    g4 a  b16-[ a b8] a4
+    g4 a b16-[ a b8] a4

     e'4 e32[ d e d ~ d8] c2
   }
 >>
     e'4 e32[ d e d ~ d8] c2
   }
 >>


@@ -3014,7 +2925,7 @@ Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
 
 @aref{appoggiatura}.
 
 
 @aref{appoggiatura}.
 

-@aitem{ossia}
+@aitem{ossia}@c

 ES: ossia,
 I: ossia,
 F: ossia,
 ES: ossia,
 I: ossia,
 F: ossia,


@@ -3022,38 +2933,35 @@ D: Ossia,
 NL: alternatief,
 DK: ossia,
 S: ossia,
 NL: alternatief,
 DK: ossia,
 S: ossia,

-FI: ossia, vaihtoehtoinen esitystapa,
-N: ?.
+FI: ossia, vaihtoehtoinen esitystapa.

 
 Ossia (otherwise) marks an alternative.  It is an added staff or piano
 score, usually only a few measures long, which presents another version
 of the music, for example for small hands.
 
 
 Ossia (otherwise) marks an alternative.  It is an added staff or piano
 score, usually only a few measures long, which presents another version
 of the music, for example for small hands.
 

-@aitem{part}
+@aitem{part}@c

 ES: parte,
 I: voce, parte,
 F: partie,
 D: Stimme,
 NL: partij,
 DK: stemme,
 ES: parte,
 I: voce, parte,
 F: partie,
 D: Stimme,
 NL: partij,
 DK: stemme,

-S: st@"amma,
-FI: stemma, instrumenttiosuus,
-N: ?.
+S: stämma,
+FI: stemma, instrumenttiosuus.

 
 

-1. In instrumental or choral music the music for the single instrument
-or voice.  2. in contrapuntal music @aref{counterpoint} the single
+1.@tie{}In instrumental or choral music the music for the single instrument
+or voice.  2.@tie{}in contrapuntal music @aref{counterpoint} the single

 melodic line of the contrapunctal web.
 
 melodic line of the contrapunctal web.
 

-@aitem{percussion}
-ES: percusi@'on,
+@aitem{percussion}@c
+ES: percusión,

 I: percussioni,
 F: percussion,
 D: Schlagzeug, Schlagwerk,
 NL: slagwerk,
 I: percussioni,
 F: percussion,
 D: Schlagzeug, Schlagwerk,
 NL: slagwerk,

-DK: slagt@o{}j,
+DK: slagtøj,

 S: slagverk,
 S: slagverk,

-FI: ly@"om@"asoittimet,
-N: ?.
+FI: lyömäsoittimet.

 
 A family of musical instruments which are played on by striking or
 shaking.  Percussion instruments commonly used in a symphony orchestra are
 
 A family of musical instruments which are played on by striking or
 shaking.  Percussion instruments commonly used in a symphony orchestra are


@@ -3061,7 +2969,7 @@ kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
 and xylophone.
 
 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
 and xylophone.
 

-@aitem{perfect interval}
+@aitem{perfect interval}@c

 ES: intervalo justo,
 I: intervallo giusto,
 F: intervalle juste,
 ES: intervalo justo,
 I: intervallo giusto,
 F: intervalle juste,


@@ -3069,12 +2977,11 @@ D: reines Intervall,
 NL: rein interval,
 DK: rent interval,
 S: rent intervall,
 NL: rein interval,
 DK: rent interval,
 S: rent intervall,

-FI: puhdas intervalli,
-N: ?.
+FI: puhdas intervalli.

 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitem{phrase}
+@aitem{phrase}@c

 ES: frase,
 I: frase,
 F: phrase,
 ES: frase,
 I: frase,
 F: phrase,


@@ -3082,26 +2989,24 @@ D: Phrase,
 NL: frase, zin,
 DK: frase,
 S: fras,
 NL: frase, zin,
 DK: frase,
 S: fras,

-FI: fraasi, lause,
-N: ?.
+FI: fraasi, lause.

 
 A natural division of the melodic line, comparable to a sentence of speech.
 
 
 A natural division of the melodic line, comparable to a sentence of speech.
 

-@aitem{phrasing}
+@aitem{phrasing}@c

 ES: fraseo,
 I: fraseggio,
 ES: fraseo,
 I: fraseggio,

-F: phras@'e,
+F: phrasé,

 D: Phrasierung,
 NL: frasering,
 DK: frasering,
 S: fra@-se@-ring,
 D: Phrasierung,
 NL: frasering,
 DK: frasering,
 S: fra@-se@-ring,

-FI: fraseeraus, j@"asent@"aminen,
-N: ?.
+FI: fraseeraus, jäsentäminen.

 
 The clear rendering in musical performance of the @aref{phrase}s of
 the melody.  Phrasing may be indicated by a @aref{slur}.
 
 
 The clear rendering in musical performance of the @aref{phrase}s of
 the melody.  Phrasing may be indicated by a @aref{slur}.
 

-@aitem{piano}
+@aitem{piano}@c

 ES: piano,
 I: piano,
 F: piano,
 ES: piano,
 I: piano,
 F: piano,


@@ -3109,24 +3014,22 @@ D: piano, leise,
 NL: piano,
 DK: piano,
 S: piano,
 NL: piano,
 DK: piano,
 S: piano,

-FI, piano, hiljaa,
-N: ?.
+FI, piano, hiljaa.

 
 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
 @emph{mezzopiano} (@b{mp}) medium soft.
 
 
 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
 @emph{mezzopiano} (@b{mp}) medium soft.
 

-@aitem{pitch}
+@aitem{pitch}@c

 ES: altura,
 I: altezza,
 F: hauteur,
 ES: altura,
 I: altezza,
 F: hauteur,

-D: Tonh@"ohe,
+D: Tonhöhe,

 NL: toonhoogte,
 NL: toonhoogte,

-DK: toneh@o{}jde,
-S: tonh@"ojd,
-FI: s@"avelkorkeus,
-N: ?.
+DK: tonehøjde,
+S: tonhöjd,
+FI: sävelkorkeus.

 
 

-@aitem{pizzicato}
+@aitem{pizzicato}@c

 ES: pizzicato,
 I: pizzicato,
 F: pizzicato,
 ES: pizzicato,
 I: pizzicato,
 F: pizzicato,


@@ -3134,29 +3037,27 @@ D: pizzicato,
 NL: pizzicato, getokkeld,
 DK: pizzicato,
 S: pizzicato,
 NL: pizzicato, getokkeld,
 DK: pizzicato,
 S: pizzicato,

-FI: pizzicato, n@"app@"aillen,
-N: ?.
+FI: pizzicato, näppäillen.

 
 Play by plucking the strings.
 
 
 Play by plucking the strings.
 

-@aitem{polyphony}
-ES: polifon@'{@dotless{i}}a,
+@aitem{polyphony}@c
+ES: polifonía,

 I: polifonia,
 F: polyphonie,
 I: polifonia,
 F: polyphonie,

-D: Polyphonie,
+D: Polyphonie, Mehrstimmigkeit,

 NL: polyfonie,
 DK: polyfoni,
 S: polyfoni,
 NL: polyfonie,
 DK: polyfoni,
 S: polyfoni,

-FI: polyfonia, moni@"a@"anisyys,
-N: ?.
+FI: polyfonia, moniäänisyys.

 
 Music written in a combination of several simultaneous voices (parts) of a
 more or less pronounced individuality.  @aref{counterpoint}.
 
 
 Music written in a combination of several simultaneous voices (parts) of a
 more or less pronounced individuality.  @aref{counterpoint}.
 

-@aitem{portato}
+@aitem{portato}@c

 @aref{legato}.
 
 @aref{legato}.
 

-@aitem{presto}
+@aitem{presto}@c

 ES: presto,
 I: presto,
 F: presto,
 ES: presto,
 I: presto,
 F: presto,


@@ -3164,30 +3065,28 @@ D: Presto, Sehr schnell,
 NL: presto, Sehr schnell,
 DK: presto,
 S: presto,
 NL: presto, Sehr schnell,
 DK: presto,
 S: presto,

-FI: presto, hyvin nopeasti,
-N: ?.
+FI: presto, hyvin nopeasti.

 
 

-Very quick, i.e. quicker than @aref{allegro}.  @emph{prestissimo}
+Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}

 denotes the highest possible degree of speed.
 
 denotes the highest possible degree of speed.
 

-@aitem{Pythagorean comma}
-ES: coma pitag@'orico,
+@aitem{Pythagorean comma}@c
+ES: coma pitagórico,

 I: comma pitagorico,
 F: comma pythagoricien,
 I: comma pitagorico,
 F: comma pythagoricien,

-D: Pythagor@"aisches Komma,
+D: Pythagoräisches Komma,

 NL: komma van Pythagoras,
 NL: komma van Pythagoras,

-DK: pythagor@ae{}isk komma,
+DK: pythagoræisk komma,

 S: pytagoreiskt komma,
 S: pytagoreiskt komma,

-FI: pytagorinen komma,
-N: ?.
+FI: pytagorinen komma.

 
 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
 but this@w{ }C, obtained by adding 12@w{ }fifths, is
 
 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
 but this@w{ }C, obtained by adding 12@w{ }fifths, is

-24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
+24 @aref{cent}s higher than the@w{ }C obtained by adding

 7@w{ }octaves.  The difference between those two pitches is called the
 Pythagorean comma.
 
 7@w{ }octaves.  The difference between those two pitches is called the
 Pythagorean comma.
 

-@aitem{quadruplet}
+@aitem{quadruplet}@c

 ES: cuatrillo,
 I: quartina,
 F: quartolet,
 ES: cuatrillo,
 I: quartina,
 F: quartolet,


@@ -3195,12 +3094,11 @@ D: Quartole,
 NL: kwartool,
 DK: kvartol,
 S: kvartol,
 NL: kwartool,
 DK: kvartol,
 S: kvartol,

-FI: kvartoli,
-N: ?.
+FI: kvartoli.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{quarter note}
+@aitem{quarter note}@c

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


@@ -3208,13 +3106,12 @@ UK: crotchet,
 D: Viertel, Viertelnote,
 NL: kwartnoot,
 DK: fjerdedelsnode,
 D: Viertel, Viertelnote,
 NL: kwartnoot,
 DK: fjerdedelsnode,

-S: fj@"ardedelsnot,
-FI: nelj@"annesosanuotti,
-N: ?.
+S: fjärdedelsnot,
+FI: neljännesosanuotti.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{quarter rest}
+@aitem{quarter rest}@c

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


@@ -3222,13 +3119,12 @@ UK: crotchet rest,
 D: Viertelpause,
 NL: kwart rust,
 DK:@w{ }fjerdedelspause,
 D: Viertelpause,
 NL: kwart rust,
 DK:@w{ }fjerdedelspause,

-S: fj@"ardedelspaus,
-FI: nelj@"annesosatauko,
-N: ?.
+S: fjärdedelspaus,
+FI: neljännesosatauko.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{quintuplet}
+@aitem{quintuplet}@c

 ES: quintillo,
 I: quintina,
 F: quintolet,
 ES: quintillo,
 I: quintina,
 F: quintolet,


@@ -3236,12 +3132,11 @@ D: Quintole,
 NL: kwintool,
 DK: kvintol,
 S: kvintol,
 NL: kwintool,
 DK: kvintol,
 S: kvintol,

-FI: kvintoli,
-N: ?.
+FI: kvintoli.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{rallentando}
+@aitem{rallentando}@c

 ES: rallentando,
 I: rallentando,
 F: rallentando,
 ES: rallentando,
 I: rallentando,
 F: rallentando,


@@ -3249,59 +3144,56 @@ D: rallentando, langsamer werden,
 NL: rallentando,
 DK: rallentando,
 S: rallentando,
 NL: rallentando,
 DK: rallentando,
 S: rallentando,

-FI. rallerdando, hidastuen,
-N: rallentando.
+FI: rallerdando, hidastuen.

 
 Abbreviation "rall.".  @aref{ritardando}.
 
 
 Abbreviation "rall.".  @aref{ritardando}.
 

-@aitem{relative key}
+@aitem{relative key}@c

 ES: relativa,
 ES: relativa,

-I: tonalit@`a relativa,
-F: tonalit@'e relative,
+I: tonalità relativa,
+F: tonalité relative,

 D: Paralleltonart,
 NL: paralleltoonsoort,
 DK: paralleltoneart,
 S: parallelltonart,
 D: Paralleltonart,
 NL: paralleltoonsoort,
 DK: paralleltoneart,
 S: parallelltonart,

-FI: rinnakkaiss@"avellaji,
-N: ?.
+FI: rinnakkaissävellaji.

 
 @aref{major} and @aref{minor} @aref{key}
 with the same @aref{key signature}.
 
 
 @aref{major} and @aref{minor} @aref{key}
 with the same @aref{key signature}.
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Score.TextScript \set #'font-style = #'large
-\notes\relative c' {
+@lilypond[fragment,notime,linewidth=13.0\cm]
+\set Score.automaticBars = ##f
+%\override Score.TextScript #'font-style = #'large
+\relative c' {

   \key es \major
   es1_"e flat major" f g as bes c d es
   \bar "||"
 }
 @end lilypond
 
   \key es \major
   es1_"e flat major" f g as bes c d es
   \bar "||"
 }
 @end lilypond
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Score.TextScript \set #'font-style = #'large
-\notes\relative c' {
+@lilypond[fragment,notime,linewidth=13.0\cm]
+\set Score.automaticBars = ##f
+%\override Score.TextScript #'font-style = #'large
+\relative c' {

   \key es \major
   c1_"c minor" d es f g a! b! c \bar "||"
 }
 @end lilypond
 
   \key es \major
   c1_"c minor" d es f g a! b! c \bar "||"
 }
 @end lilypond
 

-@aitem{repeat}
-ES: barra de repetici@'on,
+@aitem{repeat}@c
+ES: barra de repetición,

 I: ritornello,
 F: barre de reprise,
 D: Wiederholung,
 NL: herhaling,
 DK: gen@-ta@-gel@-se,
 S: repris,
 I: ritornello,
 F: barre de reprise,
 D: Wiederholung,
 NL: herhaling,
 DK: gen@-ta@-gel@-se,
 S: repris,

-FI: toisto,
-N: ?.
+FI: toisto.

 
 

-@lilypond
+@lilypond[fragment,linewidth=13.0\cm]

 \key g \major
 \time 4/4
 \key g \major
 \time 4/4

-\notes\relative c'' {
+\relative c'' {

   \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
 }
 @end lilypond
   \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
 }
 @end lilypond


@@ -3309,7 +3201,7 @@ N: ?.
 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
 @c     specify the rest's value.
 
 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
 @c     specify the rest's value.
 

-@aitem{rest}
+@aitem{rest}@c

 ES: silencio,
 I: pausa,
 F: silence,
 ES: silencio,
 I: pausa,
 F: silence,


@@ -3317,12 +3209,11 @@ D: Pause,
 NL: rust,
 DK: pause,
 S: paus,
 NL: rust,
 DK: pause,
 S: paus,

-FI: tauko,
-N: ?.
+FI: tauko.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{rhythm}
+@aitem{rhythm}@c

 ES: ritmo,
 I: ritmo,
 F: rythme,
 ES: ritmo,
 I: ritmo,
 F: rythme,


@@ -3330,19 +3221,18 @@ D: Rhythmus,
 NL: ritme,
 DK: rytme,
 S: rytm,
 NL: ritme,
 DK: rytme,
 S: rytm,

-FI: rytmi,
-N: ?.
+FI: rytmi.

 
 (a) Metrical rhythm in which every time value is a multiple or fraction of a
 fixed unit of time, called @aref{beat}, and in which the normal
 @aref{accent} recurs in regular intervals, called
 
 (a) Metrical rhythm in which every time value is a multiple or fraction of a
 fixed unit of time, called @aref{beat}, and in which the normal
 @aref{accent} recurs in regular intervals, called

-@aref{measure}.  The basic scheme scheme of time values is called
+@aref{measure}.  The basic scheme of time values is called

 @aref{meter}.  (b) Measured rhythm which lacks regularly recurrent
 accent.  In modern notation such music appears as a free alternation of
 different measures.  (c) Free rhythm, i.e., the use of temporal values having
 no common metrical unit (beat).
 
 @aref{meter}.  (b) Measured rhythm which lacks regularly recurrent
 accent.  In modern notation such music appears as a free alternation of
 different measures.  (c) Free rhythm, i.e., the use of temporal values having
 no common metrical unit (beat).
 

-@aitem{ritardando}
+@aitem{ritardando}@c

 ES: retardando,
 I: ritardando,
 F: ritardando,
 ES: retardando,
 I: ritardando,
 F: ritardando,


@@ -3350,12 +3240,11 @@ D: Ritardando, langsamer werden,
 NL: ritardando,
 DK: ritardando,
 S: ritardando,
 NL: ritardando,
 DK: ritardando,
 S: ritardando,

-FI. ritardando, hidastuen,
-N: ?.
+FI: ritardando, hidastuen,

 
 

-Gradually slackening in speed.  Mostly abbreviated to rit. or ritard.
+Gradually slackening in speed.  Mostly abbreviated to rit.@: or ritard.

 
 

-@aitem{ritenuto}
+@aitem{ritenuto}@c

 ES: ritenuto,
 I: ritenuto,
 F: ritenuto,
 ES: ritenuto,
 I: ritenuto,
 F: ritenuto,


@@ -3363,12 +3252,11 @@ D: Ritenuto,
 NL: ritenuto,
 DK: ritenuto,
 S: ritenuto,
 NL: ritenuto,
 DK: ritenuto,
 S: ritenuto,

-FI: ritenuto, hidastaen,
-N: ?.
+FI: ritenuto, hidastaen.

 
 Immediate reduction of speed.
 
 
 Immediate reduction of speed.
 

-@aitem{scale}
+@aitem{scale}@c

 ES: escala,
 I: scala,
 F: gamme,
 ES: escala,
 I: scala,
 F: gamme,


@@ -3376,43 +3264,41 @@ D: Tonleiter,
 NL: toonladder,
 DK: Skala,
 S: skala,
 NL: toonladder,
 DK: Skala,
 S: skala,

-FI: asteikko, s@"avelasteikko,
-N: ?.
+FI: asteikko, sävelasteikko.

 
 @aref{diatonic scale}.
 
 
 @aref{diatonic scale}.
 

-@aitem{scale degree}
+@aitem{scale degree}@c

 ES: grados de la escala,
 I: grado della scala,
 ES: grados de la escala,
 I: grado della scala,

-F: degr@'e [de la gamme],
+F: degré [de la gamme],

 D: Tonleiterstufe,
 NL: trap [van de toonladder],
 DK: skalatrin,
 S: skalsteg (?),
 D: Tonleiterstufe,
 NL: trap [van de toonladder],
 DK: skalatrin,
 S: skalsteg (?),

-FI: s@"avelaste, asteikon s@"avel,
-N: ?.
+FI: sävelaste, asteikon sävel.

 
 Names and symbols used in harmonic analysis to denote tones of the scale as
 roots of chords.  The most important are degrees I = tonic (T), IV =
 sub@-do@-mi@-nant (S) and V = dominant (D).
 
 
 Names and symbols used in harmonic analysis to denote tones of the scale as
 roots of chords.  The most important are degrees I = tonic (T), IV =
 sub@-do@-mi@-nant (S) and V = dominant (D).
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Score.LyricText \set #'font-style = #'large
-%\property Lyrics.minVerticalAlign = #8
-\addlyrics
-\context Staff \notes\relative c' {
+@lilypond[fragment,notime,linewidth=13.0\cm]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\set minVerticalAlign = #8
+\oldaddlyrics
+\context Staff \relative c' {

   c1 d e f g a b c
 }
 \context Lyrics \lyrics {
   << { I II III IV V VI VII I }
   c1 d e f g a b c
 }
 \context Lyrics \lyrics {
   << { I II III IV V VI VII I }

-    { T "" ""  S  D } >>
+    { T "" "" S D } >>

 }
 @end lilypond
 
 @aref{functional harmony}.
 
 }
 @end lilypond
 
 @aref{functional harmony}.
 

-@aitem{score}
+@aitem{score}@c

 ES: partitura,
 I: partitura,
 F: partition,
 ES: partitura,
 I: partitura,
 F: partition,


@@ -3420,30 +3306,28 @@ D: Partitur (full score), Klavierauszug (vocal score)
 NL: partituur,
 DK: partitur,
 S: partitur,
 NL: partituur,
 DK: partitur,
 S: partitur,

-FI: partituuri,
-N: ?.
+FI: partituuri.

 
 

-A copy of orchestral, choral or chamber music showing what each instrument is
+A copy of orchestral, choral, or chamber music showing what each instrument is

 to play, each voice to sing, having each part arranged one underneath the
 other on different staves @aref{staff}.
 
 to play, each voice to sing, having each part arranged one underneath the
 other on different staves @aref{staff}.
 

-@aitem{second}
+@aitem{second}@c

 ES: segunda,
 I: secunda,
 F: seconde,
 ES: segunda,
 I: secunda,
 F: seconde,

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

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

-FI: sekunti,
-N: ?.
+FI: sekunti.

 
 The @aref{interval} between two neigbouring tones of a scale.  A
 @aref{diatonic scale} consists of alternating
 @aref{semitone}s and @aref{whole tone}s, hence the size
 of a se@-cond depends on the scale degrees in question.
 
 
 The @aref{interval} between two neigbouring tones of a scale.  A
 @aref{diatonic scale} consists of alternating
 @aref{semitone}s and @aref{whole tone}s, hence the size
 of a se@-cond depends on the scale degrees in question.
 

-@aitem{semitone}
+@aitem{semitone}@c

 ES: semitono,
 I: semitono,
 F: demi-ton,
 ES: semitono,
 I: semitono,
 F: demi-ton,


@@ -3451,8 +3335,7 @@ D: Halbton,
 NL: halve toon,
 DK: halvtone,
 S: halvton,
 NL: halve toon,
 DK: halvtone,
 S: halvton,

-FI: puolis@"avel,
-N: ?.
+FI: puolisävel.

 
 The @aref{interval} of a minor second.  The (usually) smallest
 interval in European composed music.  The interval between two neighbouring
 
 The @aref{interval} of a minor second.  The (usually) smallest
 interval in European composed music.  The interval between two neighbouring


@@ -3460,53 +3343,50 @@ tones on the piano keyboard -- including black and white keys -- is a
 semitone.  An octave may be divided into 12@w{ }semitones.
 @aref{interval}, @aref{chromatic scale}.
 
 semitone.  An octave may be divided into 12@w{ }semitones.
 @aref{interval}, @aref{chromatic scale}.
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-\notes\relative c'' { g1 gis s a bes s b! c }
+@lilypond[fragment,notime,linewidth=13.0\cm]
+\set Score.automaticBars = ##f
+\relative c'' { g1 gis s a bes s b! c }

 @end lilypond
 
 @end lilypond
 

-@aitem{seventh}
-ES: s@'eptima,
+@aitem{seventh}@c
+ES: séptima,

 I: settima,
 I: settima,

-F: septi@`eme,
+F: septième,

 D: Septime,
 NL: septiem,
 DK: septim,
 S: septim,
 D: Septime,
 NL: septiem,
 DK: septim,
 S: septim,

-FI: septimi,
-N: ?.
+FI: septimi.

 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitem{sextuplet, sextolet}
+@aitem{sextuplet, sextolet}@c

 I: sestina,
 F: sextolet,
 D: Sextole,
 NL: sextool,
 DK: sekstol,
 S: sextol,
 I: sestina,
 F: sextolet,
 D: Sextole,
 NL: sextool,
 DK: sekstol,
 S: sextol,

-FI: sekstoli,
-N: ?.
+FI: sekstoli.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{sharp}
+@aitem{sharp}@c

 ES: sostenido,
 I: diesis,
 ES: sostenido,
 I: diesis,

-F: di@`ese,
+F: dièse,

 D: Kreuz,
 NL: kruis,
 DK: kryds,
 D: Kreuz,
 NL: kruis,
 DK: kryds,

-S: korsf@"ortecken,
-FI: korotusmerkki,
-N: ?.
+S: kors@-förtecken,
+FI: korotusmerkki.

 
 @aref{accidental}.
 
 
 @aref{accidental}.
 

-@aitem{short appoggiatura}
+@aitem{short appoggiatura}@c

 @aref{appoggiatura}.
 
 @aref{appoggiatura}.
 

-@aitem{sixteenth note}
+@aitem{sixteenth note}@c

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


@@ -3515,12 +3395,11 @@ D: Sechzehntel, Sechzehntelnote,
 NL: zes@-ti@-ende noot,
 DK: sekstendedelsnode,
 S: sextondelsnot,
 NL: zes@-ti@-ende noot,
 DK: sekstendedelsnode,
 S: sextondelsnot,

-FI: kuudestoistaosanuotti,
-N: ?.
+FI: kuudestoistaosanuotti.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{sixteenth rest}
+@aitem{sixteenth rest}@c

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


@@ -3529,12 +3408,11 @@ D: Sechzehntelpause,
 NL: zestiende rust,
 DK: sekstendedelspause,
 S: sextondelspaus,
 NL: zestiende rust,
 DK: sekstendedelspause,
 S: sextondelspaus,

-FI: kuudesosatauko,
-N: ?.
+FI: kuudesosatauko.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{sixth}
+@aitem{sixth}@c

 ES: sexta,
 I: sesta,
 F: sixte,
 ES: sexta,
 I: sesta,
 F: sixte,


@@ -3542,12 +3420,11 @@ D: Sexte,
 NL: sext,
 DK: sekst,
 S: sext,
 NL: sext,
 DK: sekst,
 S: sext,

-FI: seksti,
-N: ?.
+FI: seksti.

 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitem{sixty-fourth note}
+@aitem{sixty-fourth note}@c

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


@@ -3555,57 +3432,53 @@ 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,

-S: sextiofj@"ardedelsnot,
-FI: kuudeskymmenesnelj@"asosanuotti,
-N: ?.
+S: sextiofjärdedelsnot,
+FI: kuudeskymmenesneljäsosanuotti.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{sixty-fourth rest}
+@aitem{sixty-fourth rest}@c

 ES: silencia de semifusa,
 I: pausa di semibiscroma,
 ES: silencia de semifusa,
 I: pausa di semibiscroma,

-F: seizi@`eme de soupir,
+F: seizième de soupir,

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

-S: sextiofj@"ardedelspaus,
-FI: kuudeskymmenesnelj@"asosatauko,
-N: ?.
+S: sextiofjärdedelspaus,
+FI: kuudeskymmenesneljäsosatauko.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{slur}
+@aitem{slur}@c

 ES: ligadura,
 I: legatura (di portamento or espressiva),
 ES: ligadura,
 I: legatura (di portamento or espressiva),

-F: liaison, coul@'e,
+F: liaison, coulé,

 D: Bogen, Legatobogen, Phrasierungsbogen,
 NL: fraseringsboog, legatoboog, streekboog,
 DK: legatobue, fraseringsbue,
 D: Bogen, Legatobogen, Phrasierungsbogen,
 NL: fraseringsboog, legatoboog, streekboog,
 DK: legatobue, fraseringsbue,

-S: b@aa{}ge,
-FI: kaari,
-N: ?.
+S: båge,
+FI: kaari.

 
 A slur above or below a group of notes indicates that they are to be played
 @aref{legato}, e.g., with one stroke of the violin bow or with one
 breath in singing.
 
 
 A slur above or below a group of notes indicates that they are to be played
 @aref{legato}, e.g., with one stroke of the violin bow or with one
 breath in singing.
 

-@aitem{solmization}
+@aitem{solmization}@c

 I: solmisazione,
 F: solmisation,
 D: Solmisation,
 NL: solmizatie,
 DK: solmisation,
 S: solmisation,
 I: solmisazione,
 F: solmisation,
 D: Solmisation,
 NL: solmizatie,
 DK: solmisation,
 S: solmisation,

-FI: suhteelliset laulunimet,
-N: ?.
+FI: suhteelliset laulunimet.

 
 General term for systems of designating the degrees of the
 @aref{scale}, not by letters, but by syllables (@emph{do}
 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
 (@emph{ti})).  @aref{scale degree}.
 
 
 General term for systems of designating the degrees of the
 @aref{scale}, not by letters, but by syllables (@emph{do}
 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
 (@emph{ti})).  @aref{scale degree}.
 

-@aitem{sonata}
+@aitem{sonata}@c

 ES: sonata,
 I: sonata,
 F: sonate,
 ES: sonata,
 I: sonata,
 F: sonate,


@@ -3613,14 +3486,13 @@ D: Sonate,
 NL: sonate,
 DK: sonate,
 S: sonat,
 NL: sonate,
 DK: sonate,
 S: sonat,

-FI: sonaatti,
-N: ?.
+FI: sonaatti.

 
 In its present-day meaning a sonata denotes an instrumental composition for
 piano or for some other instrument with piano accompaniment, which consists of
 three or four independant pieces, called movements.
 
 
 In its present-day meaning a sonata denotes an instrumental composition for
 piano or for some other instrument with piano accompaniment, which consists of
 three or four independant pieces, called movements.
 

-@aitem{sonata form}
+@aitem{sonata form}@c

 ES: forma sonata,
 I: forma sonata,
 F: [en] forme de sonate,
 ES: forma sonata,
 I: forma sonata,
 F: [en] forme de sonate,


@@ -3628,24 +3500,22 @@ D: Sonatenform,
 NL: hoofdvorm, sonatevorm,
 DK: sonateform,
 S: sonatform,
 NL: hoofdvorm, sonatevorm,
 DK: sonateform,
 S: sonatform,

-FI: sonaattimuoto,
-N: ?.
+FI: sonaattimuoto.

 
 A form used frequently for single movements of the @aref{sonata},
 @aref{symphony}, quartet, etc.  A movement written in sonata form
 falls into three sections called @emph{exposition}, @emph{development} and
 
 A form used frequently for single movements of the @aref{sonata},
 @aref{symphony}, quartet, etc.  A movement written in sonata form
 falls into three sections called @emph{exposition}, @emph{development} and

-@emph{recapitulation}.  In the exposition the composer introduces his musical
-ideas, consisting of a number of themes; in the development section he
-"develops" this material, and in the recapitulation he repeats the exposition,
-with certain modifications, however.  The exposition contains a number of themes
-which fall into two groups, often called first and second subject.  Other
-melodies occurring in each group are considered as continuations of these
-two.  The second theme is in another key, normally in the key of the
-@aref{dominant} if the @aref{tonic} is
-@aref{major}, and in the @aref{relative key} if the
-tonic is @aref{minor}.
-
-@aitem{soprano}
+@emph{recapitulation}.  In the exposition the composer introduces some musical
+ideas, consisting of a number of themes; in the development section the
+composer `develops' this material, and in the recapitulation the composer
+repeats the exposition, with certain modifications.  The exposition contains a
+number of themes that fall into two groups, often called first and second
+subject.  Other melodies occurring in each group are considered as
+continuations of these two.  The second theme is in another key, normally in
+the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
+@aref{relative key} if the tonic is @aref{minor}.
+
+@aitem{soprano}@c

 ES: soprano,
 I: soprano,
 F: soprano,
 ES: soprano,
 I: soprano,
 F: soprano,


@@ -3653,52 +3523,49 @@ D: Sopran,
 NL: sopraan,
 DK: sopran,
 S: sopran,
 NL: sopraan,
 DK: sopran,
 S: sopran,

-FI: sopraano, korkea nais@"a@"ani,
-N: ?.
+FI: sopraano, korkea naisääni.

 
 The highest female voice.
 
 
 The highest female voice.
 

-@aitem{staccato}
+@aitem{staccato}@c

 ES: staccato,
 I: staccato,
 ES: staccato,
 I: staccato,

-F: staccato, piqu@'e, d@'etach@'e,
-D: staccato,
+F: staccato, piqué, détaché,
+D: Staccato,

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

-FI: staccato, lyhyesti, ter@"av@"asti,
-N: ?.
+FI: staccato, lyhyesti, terävästi.

 
 Playing the note(s) short.  Staccato is indicated by a dot above or below the
 
 Playing the note(s) short.  Staccato is indicated by a dot above or below the

-notehead.
+note head.

 
 

-@lilypond
+@lilypond[fragment,raggedright]

 \key d \major
 \time 4/4
 \key d \major
 \time 4/4

-\notes\relative c'' {
+\relative c'' {

   \partial 8 a8 |
   d4-\staccato cis-\staccato b-\staccato cis-\staccato |
   d2. \bar "||"
 }
 @end lilypond
 
   \partial 8 a8 |
   d4-\staccato cis-\staccato b-\staccato cis-\staccato |
   d2. \bar "||"
 }
 @end lilypond
 

-@aitem{staff}
+@aitemii{staff, pl. staves}@c

 ES: pentagrama,
 I: pentagramma, rigo (musicale),
 ES: pentagrama,
 I: pentagramma, rigo (musicale),

-F: port@'ee,
+F: portée,

 D: Notenzeile,
 NL: (noten)balk, partij,
 DK: nodesystem,
 S: notsystem,
 D: Notenzeile,
 NL: (noten)balk, partij,
 DK: nodesystem,
 S: notsystem,

-FI: nuottiviivasto,
-N: ?.
+FI: nuottiviivasto.

 
 

-pl. staves.  A series of (normally@w{ }5) horizontal lines upon and between
+A series of (normally five) horizontal lines upon and between

 which the musical notes are written, thus indicating (in connection
 with a @aref{clef}) their pitch.  Staves for
 @aref{percussion} instruments may have fewer lines.
 
 which the musical notes are written, thus indicating (in connection
 with a @aref{clef}) their pitch.  Staves for
 @aref{percussion} instruments may have fewer lines.
 

-@aitem{stem}
+@aitem{stem}@c

 ES: plica,
 I: gamba,
 F: queue,
 ES: plica,
 I: gamba,
 F: queue,


@@ -3706,17 +3573,16 @@ D: Hals, Notenhals, Stiel,
 NL: stok,
 DK: hals,
 S: skaft,
 NL: stok,
 DK: hals,
 S: skaft,

-FI: nuottipalkki,
-N: ?.
+FI: nuottipalkki.

 
 Vertical line above or below a @aref{note head} shorter than a
 whole note.  @aref{beam}.
 
 
 Vertical line above or below a @aref{note head} shorter than a
 whole note.  @aref{beam}.
 

-@lilypond[notime]
-\property Score.autoBeaming = ##f
-\property Score.automaticBars = ##f
-%\property Score.TextScript \set #'font-style = #'large
-\notes\relative c'' {
+@lilypond[fragment,notime,linewidth=13.0\cm]
+\set Score.autoBeaming = ##f
+\set Score.automaticBars = ##f
+%\override Score.TextScript #'font-style = #'large
+\relative c'' {

   g2_"1/2" g' s16
   g,4_"1/4" g' s16
   g,8_"1/8" g' s16
   g2_"1/2" g' s16
   g,4_"1/4" g' s16
   g,8_"1/8" g' s16


@@ -3724,21 +3590,20 @@ whole note.  @aref{beam}.
 }
 @end lilypond
 
 }
 @end lilypond
 

-@aitem{strings}
+@aitem{strings}@c

 ES: arcos, cuerdas,
 I: archi,
 F: cordes,
 D: Streicher,
 NL: strijkers,
 DK: strygere,
 ES: arcos, cuerdas,
 I: archi,
 F: cordes,
 D: Streicher,
 NL: strijkers,
 DK: strygere,

-S: str@aa{}kar,
-FI: jouset,
-N: ?.
+S: stråkar,
+FI: jouset.

 
 A family of stringed musical instruments played with a bow.  Strings commonly
 used in a symphony orchestra are violin, viola, violoncello, and double bass.
 
 
 A family of stringed musical instruments played with a bow.  Strings commonly
 used in a symphony orchestra are violin, viola, violoncello, and double bass.
 

-@aitem{strong beat}
+@aitem{strong beat}@c

 ES: tiempo fuerte,
 I: tempo forte,
 F: temps fort,
 ES: tiempo fuerte,
 I: tempo forte,
 F: temps fort,


@@ -3746,13 +3611,12 @@ D: betonter Taktteil oder Taktschlag,
 NL: thesis,
 D: betonet taktslag,
 S: betonat taktslag,
 NL: thesis,
 D: betonet taktslag,
 S: betonat taktslag,

-FI: tahdin vahva isku,
-N: ?.
+FI: tahdin vahva isku.

 
 @aref{beat}, @aref{accent}, @aref{measure},
 @aref{rhythm}.
 
 
 @aref{beat}, @aref{accent}, @aref{measure},
 @aref{rhythm}.
 

-@aitem{subdominant}
+@aitem{subdominant}@c

 ES: subdominante,
 I: sottodominante,
 F: sous-dominante,
 ES: subdominante,
 I: sottodominante,
 F: sous-dominante,


@@ -3760,26 +3624,23 @@ D: Subdominante,
 NL: subdominant,
 DK: subdominant,
 S: subdominant,
 NL: subdominant,
 DK: subdominant,
 S: subdominant,

-FI: subdominantti, alidominantti,
-N: ?.
+FI: subdominantti, alidominantti.

 
 

-The fourth @aref{scale degree}.  @aref{functional
-harmony}.
+The fourth @aref{scale degree}.  @aref{functional harmony}.

 
 

-@aitem{submediant}
+@aitem{submediant}@c

 ES: superdominante,
 I: sopratonica,
 ES: superdominante,
 I: sopratonica,

-F: sous-m@'ediante,
+F: sous-médiante,

 D: Submediante,
 NL: submediant,
 DK: Submediant,
 S: submediant,
 D: Submediante,
 NL: submediant,
 DK: Submediant,
 S: submediant,

-FI: alikeskis@"avel,
-N: ?.
+FI: alikeskisävel.

 
 The sixth @aref{scale degree}.
 
 
 The sixth @aref{scale degree}.
 

-@aitem{subtonic}
+@aitem{subtonic}@c

 ES: sensible,
 I: sottotonica,
 F: sous-tonique,
 ES: sensible,
 I: sottotonica,
 F: sous-tonique,


@@ -3787,12 +3648,11 @@ D: Subtonika,
 NL: subtonica,
 DK: Subtonika,
 S: subtonika,
 NL: subtonica,
 DK: Subtonika,
 S: subtonika,

-FI: subtoonika, alitoonika,
-N: ?.
+FI: subtoonika, alitoonika.

 
 The seventh @aref{scale degree}.
 
 
 The seventh @aref{scale degree}.
 

-@aitem{superdominant}
+@aitem{superdominant}@c

 ES: superdominante,
 I: sopradominante,
 F: sus-dominante,
 ES: superdominante,
 I: sopradominante,
 F: sus-dominante,


@@ -3800,38 +3660,35 @@ D: Superdominante,
 NL: superdominant,
 DK: superdominant,
 S: superdominant,
 NL: superdominant,
 DK: superdominant,
 S: superdominant,

-FI: ylidominantti,
-N: ?.
+FI: ylidominantti.

 
 The sixth @aref{scale degree}.
 
 
 The sixth @aref{scale degree}.
 

-@aitem{supertonic}
-ES: supert@'onica,
+@aitem{supertonic}@c
+ES: supertónica,

 I: sopratonica,
 F: sus-tonique,
 D: Supertonika,
 NL: supertonica,
 DK: supertonika,
 S: supertonika,
 I: sopratonica,
 F: sus-tonique,
 D: Supertonika,
 NL: supertonica,
 DK: supertonika,
 S: supertonika,

-FI: ylitoonika,
-N: ?.
+FI: ylitoonika.

 
 The second @aref{scale degree}.
 
 
 The second @aref{scale degree}.
 

-@aitem{symphony}
-ES: sinfon@'{@dotless{i}}a,
+@aitem{symphony}@c
+ES: sinfonía,

 I: sinfonia,
 F: symphonie,
 D: Sinfonie, Symphonie,
 NL: symfonie,
 DK: symfoni,
 S: symfoni,
 I: sinfonia,
 F: symphonie,
 D: Sinfonie, Symphonie,
 NL: symfonie,
 DK: symfoni,
 S: symfoni,

-FI: sinfonia,
-N: ?.
+FI: sinfonia.

 
 A symphony may be defined as a @aref{sonata} for orchestra.
 
 
 A symphony may be defined as a @aref{sonata} for orchestra.
 

-@aitem{syncopation}
+@aitem{syncopation}@c

 ES: sincopado,
 I: sincope,
 F: syncope,
 ES: sincopado,
 I: sincope,
 F: syncope,


@@ -3839,109 +3696,101 @@ D: Synkope,
 NL: syncope,
 DK: synkope,
 S: synkop,
 NL: syncope,
 DK: synkope,
 S: synkop,

-FI: synkooppi,
-N: ?.
+FI: synkooppi.

 
 Any deliberate upsetting of the normal pulse of @aref{meter},
 
 Any deliberate upsetting of the normal pulse of @aref{meter},

-@aref{accent} and @aref{rhythm}.  Our system of musical
+@aref{accent}, and @aref{rhythm}.  The occidental system of musical

 rhythm rests upon the grouping of equal beats into groups of two or three,
 with a regularly recurrent accent on the first beat of each group.  Any
 deviation from this scheme is felt as a disturbance or contradiction between
 the underlaying (normal) pulse and the actual (abnormal) rhythm.
 
 rhythm rests upon the grouping of equal beats into groups of two or three,
 with a regularly recurrent accent on the first beat of each group.  Any
 deviation from this scheme is felt as a disturbance or contradiction between
 the underlaying (normal) pulse and the actual (abnormal) rhythm.
 

-@lilypond
+@lilypond[fragment,raggedright]

 \time 4/4
 \time 4/4

-\notes\relative c' {
+\relative c' {

   \partial 4
   d8 dis |
   \partial 4
   d8 dis |

-  e c'4 e,8 c'4 e,8 c' ( |  c2)
+  e c'4 e,8 c'4 e,8 c' ( | c2)

 }
 @end lilypond
 
 }
 @end lilypond
 

-@aitemii{syntonic comma,dydimic comma}
+@aitemii{syntonic comma,dydimic comma}@c

 I: comma sintonico (o didimico),
 F: comma syntonique,
 D: syntonisches Komma,
 NL: syntonische komma,
 DK: syntonisk komma,
 S: syntoniskt komma,
 I: comma sintonico (o didimico),
 F: comma syntonique,
 D: syntonisches Komma,
 NL: syntonische komma,
 DK: syntonisk komma,
 S: syntoniskt komma,

-FI: syntoninen komma, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a,
-N: ?.
+FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysjärjestelmässä.

 
 Difference between the natural third and the third obtained by Pythagorean
 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
 
 
 Difference between the natural third and the third obtained by Pythagorean
 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
 

-@aitem{system}
+@aitem{system}@c

 I: accollatura,
 I: accollatura,

-F: syst@`eme,
+F: système,

 D: Notensystem,
 NL: systeem,
 DK: system,
 S: system,
 D: Notensystem,
 NL: systeem,
 DK: system,
 S: system,

-FI: nuottij@"arjestelm@"a,
-N: ?.
+FI: nuottijärjestelmä.

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

-@aitem{temperament}
+@aitem{temperament}@c

 ES: temperamento,
 I: temperamento,
 ES: temperamento,
 I: temperamento,

-F: temp@'erament,
-D: Stimmung, Temperatur,
+F: tempérament,
+D: Stimmung, Tem@-pe@-ra@-tur,

 NL: stemming, temperatuur,
 DK: temperatur,
 S: temperatur,
 NL: stemming, temperatuur,
 DK: temperatur,
 S: temperatur,

-FI: viritysj@"arjestelm@"a,
-N: ?.
+FI: viritysjärjestelmä.

 
 Systems of tuning in which the intervals deviate from the acoustically pure
 
 Systems of tuning in which the intervals deviate from the acoustically pure

-intervals.  @aref{meantone temperament}, @aref{equal
-temperament}.
+intervals.  @aref{meantone temperament}, @aref{equal temperament}.

 
 

-@aitem{tempo indication}
-ES: indicaci@'on de tempo,
+@aitem{tempo indication}@c
+ES: indicación de tempo,

 I: indicazione di tempo,
 F: indication de temps,
 I: indicazione di tempo,
 F: indication de temps,

-D: Zeitma@ss{}, Tempobezeichnung,
+D: Zeitmaß, Tempobezeichnung,

 NL: tempo aanduiding,
 DK: tempobetegelse,
 S: tempobeteckning,
 NL: tempo aanduiding,
 DK: tempobetegelse,
 S: tempobeteckning,

-FI: tempomerkint@"a,
-N: ?.
+FI: tempomerkintä.

 
 The rate of speed of a composition or a section thereof, ranging from the
 slowest to the quickest, as is indicated by tempo marks as
 @aref{largo}, @aref{adagio}, @aref{andante},
 @aref{allegro}, and @aref{presto}.
 
 
 The rate of speed of a composition or a section thereof, ranging from the
 slowest to the quickest, as is indicated by tempo marks as
 @aref{largo}, @aref{adagio}, @aref{andante},
 @aref{allegro}, and @aref{presto}.
 

-@aitem{tenor}
+@aitem{tenor}@c

 ES: tenor,
 I: tenore,
 ES: tenor,
 I: tenore,

-F: t@'enor,
+F: ténor,

 D: Tenor,
 NL: tenor,
 DK: tenor,
 S: tenor,
 D: Tenor,
 NL: tenor,
 DK: tenor,
 S: tenor,

-FI: tenori, korkea mies@"a@"ani,
-N: ?.
+FI: tenori, korkea miesääni.

 
 

-The highest voice of men (apart from @aref{counter tenor}).
+The highest male voice (apart from @aref{counter tenor}).

 
 

-@aitem{tenth}
-ES: d@'ecima,
+@aitem{tenth}@c
+ES: décima,

 I: decima,
 I: decima,

-F: dixi@`eme,
+F: dixième,

 D: Dezime,
 NL: deciem,
 DK: decim,
 S: decima,
 D: Dezime,
 NL: deciem,
 DK: decim,
 S: decima,

-FI: desimi,
-N: ?.
+FI: desimi.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{third}
+@aitem{third}@c

 ES: tercera,
 I: terza,
 F: tierce,
 ES: tercera,
 I: terza,
 F: tierce,


@@ -3949,12 +3798,11 @@ D: Terz,
 NL: terts,
 DK: terts,
 S: ters,
 NL: terts,
 DK: terts,
 S: ters,

-FI: terssi,
-N: ?.
+FI: terssi.

 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitem{thirty-second note}
+@aitem{thirty-second note}@c

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


@@ -3962,44 +3810,41 @@ UK: demisemiquaver,
 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
 NL: twee-endertig@-ste noot,
 DK: toogtredivtedelsnode,
 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
 NL: twee-endertig@-ste noot,
 DK: toogtredivtedelsnode,

-S: trettiotv@aa{}ondelsnot,
-FI: kolmanneskymmeneskahdesosanuotti,
-N: ?.
+S: trettiotvåondelsnot,
+FI: kolmanneskymmeneskahdesosanuotti.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{thirty-second rest}
+@aitem{thirty-second rest}@c

 ES: silencio de fusa,
 I: pausa di biscroma,
 ES: silencio de fusa,
 I: pausa di biscroma,

-F: huiti@`eme de soupir,
+F: huitième de soupir,

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

-S: trettiotv@aa{}ondelspaus,
-FI: kolmanneskymmeneskahdesosatauko,
-N: ?.
+S: trettiotvåondelspaus,
+FI: kolmanneskymmeneskahdesosatauko.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitemii{thorough bass,figured bass}
+@aitemii{thorough bass,figured bass}@c

 ES: bajo cifrado,
 I: basso continuo, basso numerato,
 ES: bajo cifrado,
 I: basso continuo, basso numerato,

-F: basse chiffr@'ee,
+F: basse chiffrée,

 D: Generalbass, bezifferter Bass,
 NL: basso continuo, becijferde bas
 DK: generalbas,
 S: generalbas,
 D: Generalbass, bezifferter Bass,
 NL: basso continuo, becijferde bas
 DK: generalbas,
 S: generalbas,

-FI: kenraalibasso, numeroitu basso,
-N: ?.
+FI: kenraalibasso, numeroitu basso.

 
 A method of indicating an accompaniment part by the bass notes only, together
 with figures designating the chief @aref{interval}s and
 @aref{chord}s to be played above the bass notes.
 
 
 A method of indicating an accompaniment part by the bass notes only, together
 with figures designating the chief @aref{interval}s and
 @aref{chord}s to be played above the bass notes.
 

-@lilypond
+@lilypond[fragment,linewidth=13.0\cm]

 \context GrandStaff <<
 \context GrandStaff <<

-  \context Staff = lh \notes\relative c'' {
+  \context Staff = lh \relative c'' {

     \time 4/4
     \key es \major
     \clef treble
     \time 4/4
     \key es \major
     \clef treble


@@ -4011,54 +3856,52 @@ with figures designating the chief @aref{interval}s and
         < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
     >>
   }
         < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
     >>
   }

-  \addlyrics
-    \context Staff = rh \notes\relative c' {
+  \oldaddlyrics
+    \context Staff = rh \relative c' {

     \clef bass
     \key es \major
     es8 c d bes c as bes16 as g f | es4
   }
   \context Lyrics \lyrics {
     \clef bass
     \key es \major
     es8 c d bes c as bes16 as g f | es4
   }
   \context Lyrics \lyrics {

-    \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12)
+    \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)

     << { "" "6" "" "4" "" "6" "" "" "6" "4" }
     << { "" "6" "" "4" "" "6" "" "" "6" "4" }

-      { "" ""  "" "2" "" ""  "" "" ""  "2" } >>
+      { "" "" "" "2" "" "" "" "" "" "2" } >>

   }
 >>
 @end lilypond
 
   }
 >>
 @end lilypond
 

-@aitemii{tie,bind}
-ES: ligadura de prolongaci@'on,
+@aitemii{tie,bind}@c
+ES: ligadura de prolongación,

 I: legatura (di valore),
 F: liaison,
 D: Haltebogen,
 NL: overbinding, bindingsboog,
 DK: bindebue,
 I: legatura (di valore),
 F: liaison,
 D: Haltebogen,
 NL: overbinding, bindingsboog,
 DK: bindebue,

-S: bindeb@aa{}ge, @"overbindning,
-FI: sitominen,
-N: ?.
+S: bindebåge, överbindning,
+FI: sitominen.

 
 A curved line, identical in appearance with the @aref{slur}, which
 connects two succesive notes of the same pitch, and which has the function of
 
 A curved line, identical in appearance with the @aref{slur}, which
 connects two succesive notes of the same pitch, and which has the function of

-uniting them into a single sound equal to the combined durations.
+uniting them into a single sound (tone) equal to the combined durations.

 
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-\notes\relative c'' { g2 ~ g4. }
+@lilypond[fragment,notime,raggedright]
+\set Score.automaticBars = ##f
+\relative c'' { g2 ~ g4. }

 @end lilypond
 
 @end lilypond
 

-@aitem{time signature}
-ES: cifra indicadora de comp@'as,
+@aitem{time signature}@c
+ES: cifra indicadora de compás,

 I: segni di tempo,
 F: chiffrage (chiffres indicateurs), signe de valeur,
 D: Taktangabe, Angabe der Taktart,
 NL: maatsoort,
 DK: taktangivelse,
 S: taktartssignatur,
 I: segni di tempo,
 F: chiffrage (chiffres indicateurs), signe de valeur,
 D: Taktangabe, Angabe der Taktart,
 NL: maatsoort,
 DK: taktangivelse,
 S: taktartssignatur,

-FI: tahtiosoitus,
-N: ?.
+FI: tahtiosoitus.

 
 @aref{meter}.
 
 
 @aref{meter}.
 

-@aitem{tone}
+@aitem{tone}@c

 ES: sonido,
 I: suono,
 F: ton,
 ES: sonido,
 I: suono,
 F: ton,


@@ -4066,14 +3909,13 @@ D: Ton,
 NL: toon,
 DK: tone,
 S: ton,
 NL: toon,
 DK: tone,
 S: ton,

-FI: @"a@"ani,
-N: ?.
+FI: ääni.

 
 A sound of definite pitch and duration, as distinct from @emph{noise}.
 Tone is a primary building material of music.
 
 A sound of definite pitch and duration, as distinct from @emph{noise}.
 Tone is a primary building material of music.

-Music from the 20th century may be based on non tone related sounds.
+Music from the 20th century may be based on atonal sounds.

 
 

-@aitem{tonic}
+@aitem{tonic}@c

 ES: tonica,
 I: tonica,
 F: tonique,
 ES: tonica,
 I: tonica,
 F: tonique,


@@ -4081,37 +3923,35 @@ D: Tonika,
 NL: tonica,
 DK: tonika,
 S: tonika,
 NL: tonica,
 DK: tonika,
 S: tonika,

-FI: toonika,
-N: ?.
+FI: toonika.

 
 The first @aref{scale degree}.
 @aref{functional harmony}.
 
 
 The first @aref{scale degree}.
 @aref{functional harmony}.
 

-@aitem{transposition}
-ES: transposici@'on,
+@aitem{transposition}@c
+ES: transposición,

 I: trasposizione,
 F: transposition,
 D: Transposition,
 NL: transpositie,
 DK: transposition,
 S: transponering,
 I: trasposizione,
 F: transposition,
 D: Transposition,
 NL: transpositie,
 DK: transposition,
 S: transponering,

-FI: transponointi,
-N: ?.
+FI: transponointi.

 
 Shifting a melody up or down in pitch, while keeping the same
 relative pitches.
 
 
 Shifting a melody up or down in pitch, while keeping the same
 relative pitches.
 

-@lilypond
+@lilypond[fragment,linewidth=13.0\cm]

 \context Staff {
   \time 3/4
 \context Staff {
   \time 3/4

-  \notes\relative c'' {
+  \relative c'' {

     \key g \major
     d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
   }
 }
 @end lilypond
 
     \key g \major
     d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
   }
 }
 @end lilypond
 

-@lilypond
+@lilypond[fragment,linewidth=13.0\cm]

 \context Staff {
   \time 3/4
   \transpose c bes \relative c'' {
 \context Staff {
   \time 3/4
   \transpose c bes \relative c'' {


@@ -4121,60 +3961,57 @@ relative pitches.
 }
 @end lilypond
 
 }
 @end lilypond
 

-@aitem{treble clef}
+@aitem{treble clef}@c

 ES: clave de sol,
 I: chiave di violino,
 ES: clave de sol,
 I: chiave di violino,

-F: cl@'e de sol,
-D: Violinschl@"ussel, Sopranschl@"ussel,
+F: clé de sol,
+D: Violinschlüssel, Sopranschlüssel,

 NL: viool sleutel,
 NL: viool sleutel,

-DK:@w{ }diskantn@o{}gle,
+DK:@w{ }diskantnøgle,

 S: diskantklav,
 S: diskantklav,

-FI: diskanttiavain,
-N: ?.
+FI: diskanttiavain.

 
 @aref{G clef}.
 
 
 @aref{G clef}.
 

-@aitem{tremolo}
+@aitem{tremolo}@c

 ES: tremolo,
 I: tremolo,
 ES: tremolo,
 I: tremolo,

-F: tr@'emolo,
+F: trémolo,

 D: Tremolo,
 NL: tremolo,
 DK: tremolo,
 S: tremolo,
 D: Tremolo,
 NL: tremolo,
 DK: tremolo,
 S: tremolo,

-FI: tremolo,
-N: ?.
+FI: tremolo.

 
 On stringed instruments (@aref{strings}) the quick reiteration of
 
 On stringed instruments (@aref{strings}) the quick reiteration of

-the same tone, produced by a rapid up-and-down movement movement of the bow
+the same tone, produced by a rapid up-and-down movement of the bow

 (a).  The term is also used for the rapid alternation (b) between two notes of
 a @aref{chord}, usually in the distance of a third
 (@aref{interval}).
 
 (a).  The term is also used for the rapid alternation (b) between two notes of
 a @aref{chord}, usually in the distance of a third
 (@aref{interval}).
 

-@lilypond[notime]
-\property Score.automaticBars = ##f
-%\property Score.TextScript \set #'font-style = #'large
-\notes\relative c' {
+@lilypond[fragment,notime,raggedright]
+\set Score.automaticBars = ##f
+%\override Score.TextScript #'font-style = #'large
+\relative c' {

   e2:32_"a"
   f:32 [ e8:16 f:16 g:16 a:16 ] s4
   \repeat "tremolo" 8 { e32_"b" g }
 }
 @end lilypond
 
   e2:32_"a"
   f:32 [ e8:16 f:16 g:16 a:16 ] s4
   \repeat "tremolo" 8 { e32_"b" g }
 }
 @end lilypond
 

-@aitem{triad}
-ES: tr@'{@dotless{i}}ada,
+@aitem{triad}@c
+ES: tríada,

 I: triade,
 F: triade, accord parfait, accord de trois sons,
 I: triade,
 F: triade, accord parfait, accord de trois sons,

-D: Dreiklang,
+D: Drei@-klang,

 NL: drieklank,
 DK: treklang,
 S: treklang,
 NL: drieklank,
 DK: treklang,
 S: treklang,

-FI: kolmisointu,
-N: ?.
+FI: kolmisointu.

 
 @aref{chord}.
 
 
 @aref{chord}.
 

-@aitemii{trill,shake}
+@aitemii{trill,shake}@c

 ES: trino,
 I: trillo,
 F: trille, tremblement, battement (cadence),
 ES: trino,
 I: trillo,
 F: trille, tremblement, battement (cadence),


@@ -4182,25 +4019,23 @@ D: Triller,
 NL: triller,
 DK: trille,
 S: drill,
 NL: triller,
 DK: trille,
 S: drill,

-FI: trilli,
-N: ?.
+FI: trilli.

 
 @aref{ornament}.
 
 
 @aref{ornament}.
 

-@aitem{triple meter}
-ES: comp@'as compuesto,
+@aitem{triple meter}@c
+ES: compás compuesto,

 I: tempo ternario,
 F: mesure ternaire,
 D: in drei,
 NL: driedelige maatsoort,
 DK: tredelt takt,
 S: tretakt,
 I: tempo ternario,
 F: mesure ternaire,
 D: in drei,
 NL: driedelige maatsoort,
 DK: tredelt takt,
 S: tretakt,

-FI: kolmijakoinen,
-N: ?.
+FI: kolmijakoinen.

 
 @aref{meter}.
 
 
 @aref{meter}.
 

-@aitem{triplet}
+@aitem{triplet}@c

 ES: tresillo,
 I: terzina,
 F: triolet,
 ES: tresillo,
 I: terzina,
 F: triolet,


@@ -4208,39 +4043,36 @@ D: Triole,
 NL: triool,
 DK: triol,
 S: triol,
 NL: triool,
 DK: triol,
 S: triol,

-FI: trioli,
-N: ?.
+FI: trioli.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{tritone}
-ES: tr@'{@dotless{i}}tono,
+@aitem{tritone}@c
+ES: trítono,

 I: tritono,
 F: triton,
 D: Tritonus,
 NL: tritoon,
 DK: tritonus,
 S: tritonus,
 I: tritono,
 F: triton,
 D: Tritonus,
 NL: tritoon,
 DK: tritonus,
 S: tritonus,

-FI: tritonus,
-N: ?.
+FI: tritonus.

 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitem{tuning fork}
-ES: diapas@'on,
+@aitem{tuning fork}@c
+ES: diapasón,

 I: diapason, corista,
 F: diapason,
 D: Stimmgabel,
 NL: stemvork,
 DK: stemmegaffel,
 I: diapason, corista,
 F: diapason,
 D: Stimmgabel,
 NL: stemvork,
 DK: stemmegaffel,

-S: st@"amgaffel,
-FI: viritysavain,
-N: ?.
+S: stämgaffel,
+FI: viritysavain.

 
 A two-pronged piece of steel used to indicate absolute pitch.  Tuning forks
 
 A two-pronged piece of steel used to indicate absolute pitch.  Tuning forks

-give the international pitch for the tone @emph{a} (440 vibrations per second.)
+give the international pitch for the tone @emph{a} (440 vibrations per second).

 
 

-@aitemii{turn,gruppetto}
+@aitemii{turn,gruppetto}@c

 ES: grupo,
 I: gruppetto,
 F: grupetto,
 ES: grupo,
 I: gruppetto,
 F: grupetto,


@@ -4248,78 +4080,72 @@ D: Doppelschlag,
 NL: dubbelslag,
 DK: dobbeltslag,
 S: dubbelslag,
 NL: dubbelslag,
 DK: dobbeltslag,
 S: dubbelslag,

-FI: korukuvio,
-N: ?.
+FI: korukuvio.

 
 

-???
+@aref{ornament}.

 
 

-@aitem{unison}
-ES: un@'{@dotless{i}}sono,
+@aitem{unison}@c
+ES: unísono,

 I: unisono,
 F: unisson,
 D: unisono,
 NL: unisono,
 DK: unison,
 S: unison,
 I: unisono,
 F: unisson,
 D: unisono,
 NL: unisono,
 DK: unison,
 S: unison,

-FI: unisono, yksi@"a@"anisesti,
-N: ?.
+FI: unisono, yksiäänisesti.

 
 Playing of the same notes or the same melody by various instruments (voices)
 or by the whole orchestra (choir), either at exactly the same pitch or in a
 different octave.
 
 
 Playing of the same notes or the same melody by various instruments (voices)
 or by the whole orchestra (choir), either at exactly the same pitch or in a
 different octave.
 

-@aitem{upbeat}
-ES: entrada anacr@'usica,
+@aitem{upbeat}@c
+ES: entrada anacrúsica,

 I: anacrusi,
 I: anacrusi,

-F: anacrouse, lev@'ee,
+F: anacrouse, levée,

 D: Auftakt,
 NL: opmaat,
 DK: optakt,
 S: upptakt,
 D: Auftakt,
 NL: opmaat,
 DK: optakt,
 S: upptakt,

-FI: kohotahti,
-N: ?.
+FI: kohotahti.

 
 Initial note(s) of a melody occurring before the first bar
 line.  @aref{measure}, @aref{meter}.
 
 
 Initial note(s) of a melody occurring before the first bar
 line.  @aref{measure}, @aref{meter}.
 

-@lilypond
+@lilypond[fragment,linewidth=13.0\cm]

 \key f \major
 \time 4/4
 \key f \major
 \time 4/4

-\notes\relative c' {
+\relative c' {

   \partial 4 f4 | bes4. a8 bes4 c |
   bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
 @end lilypond
 
   \partial 4 f4 | bes4. a8 bes4 c |
   bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
 @end lilypond
 

-@aitem{voice}
+@aitem{voice}@c

 ES: voz,
 I: voce,
 F: voix,
 D: Stimme,
 NL: stem,
 DK: stemme,
 ES: voz,
 I: voce,
 F: voix,
 D: Stimme,
 NL: stem,
 DK: stemme,

-S: st@"amma,
-FI: @"a@"ani, laulu@"a@"ani,
-N: ?,
+S: stämma,
+FI: ääni, lauluääni.

 
 

-1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
-@aref{contralto}, @aref{tenor},
-@aref{baritone}, @aref{bass}.
-2. A melodic layer or part of a polyphonic composition.
+1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
+@aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
+2.@tie{}A melodic layer or part of a polyphonic composition.

 
 

-@aitem{weak beat}
-ES: tiempo d@'ebil,
+@aitem{weak beat}@c
+ES: tiempo débil,

 I: tempo debole, arsi,
 F: temps faible,
 D: unbetonter Taktteil oder Taktschlag,
 NL: arsis,
 DK: ubetonet taktslag,
 S: obetonat taktslag,
 I: tempo debole, arsi,
 F: temps faible,
 D: unbetonter Taktteil oder Taktschlag,
 NL: arsis,
 DK: ubetonet taktslag,
 S: obetonat taktslag,

-FI: tahdin heikko isku,
-N: ?.
+FI: tahdin heikko isku.

 
 @aref{beat}, @aref{measure}, @aref{rhythm}.
 
 
 @aref{beat}, @aref{measure}, @aref{rhythm}.
 

-@aitem{whole note}
+@aitem{whole note}@c

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


@@ -4328,12 +4154,11 @@ D: Ganze, ganze Note,
 NL: hele noot,
 DK: helnode,
 S: helnot,
 NL: hele noot,
 DK: helnode,
 S: helnot,

-FI: kokonuotti,
-N: ?.
+FI: kokonuotti.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{whole rest}
+@aitem{whole rest}@c

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


@@ -4342,12 +4167,11 @@ D: ganze Pause, ganztaktige Pause,
 NL: hele rust,
 DK: helnodespause,
 S: helpaus,
 NL: hele rust,
 DK: helnodespause,
 S: helpaus,

-FI: kokotauko,
-N: ?.
+FI: kokotauko.

 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{whole tone}
+@aitem{whole tone}@c

 ES: tono,
 I: tono intero,
 F: ton entier,
 ES: tono,
 I: tono intero,
 F: ton entier,


@@ -4355,23 +4179,21 @@ D: Ganzton,
 NL: hele toon,
 DK: heltone,
 S: helton,
 NL: hele toon,
 DK: heltone,
 S: helton,

-FI: kokoaskel,
-N: ?.
+FI: kokoaskel.

 
 The @aref{interval} of a major second.  The interval between two
 tones on the piano keyboard with exactly one key between them -- including
 black and white keys -- is a whole tone.
 
 
 The @aref{interval} of a major second.  The interval between two
 tones on the piano keyboard with exactly one key between them -- including
 black and white keys -- is a whole tone.
 

-@aitem{woodwind}
+@aitem{woodwind}@c

 ES: maderas,
 I: legni,
 F: les bois,
 ES: maderas,
 I: legni,
 F: les bois,

-D: Holzbl@"aser,
+D: Holzbläser,

 NL: houtblazers,
 NL: houtblazers,

-DK tr@ae{}bl@ae{}sere,
-S: tr@"abl@aa{}sare,
-FI: puupuhaltimet,
-N: ?.
+DK træblæsere,
+S: träblåsare,
+FI: puupuhaltimet.

 
 A family of blown wooden musical instruments.  Today some of these instruments
 are actually made from metal.  The woodwind instruments commonly used in a
 
 A family of blown wooden musical instruments.  Today some of these instruments
 are actually made from metal.  The woodwind instruments commonly used in a


@@ -4381,151 +4203,245 @@ symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
 
 @page
 
 
 @page
 

-@table @strong
+@table @code

 @item DURATION NAMES, NOTES AND RESTS
 @end table
 
 @item DURATION NAMES, NOTES AND RESTS
 @end table
 

-@multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
+@multitable @columnfractions .15 .26 .33 .26

 
 

-@item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
-@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI} @tab @strong{N}
+@item
+  @tab @strong{UK}
+  @tab @strong{I}
+  @tab @strong{F}
+@item
+  @tab @strong{D}
+  @tab @strong{NL}
+  @tab @strong{DK}
+@item
+  @tab @strong{S}
+  @tab @strong{FI}
+  @tab

 
 @item
 
 
 @item
 

-@item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
-@tab longa @tab longa @tab longa @tab longa
+@item @strong{longa}
+  @tab longa
+  @tab longa
+  @tab longa
+@item
+  @tab Longa
+  @tab longa
+  @tab longa
+@item
+  @tab longa
+  @tab longa
+  @tab

 
 @item
 
 
 @item
 

-@item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
-brevis @tab brevis @tab brevis @tab brevis @tab brevis
+@item @strong{breve}
+  @tab breve
+  @tab breve
+  @tab brève
+@item
+  @tab Brevis
+  @tab brevis
+  @tab brevis
+@item
+  @tab brevis
+  @tab brevis
+  @tab

 
 @item
 
 
 @item
 

-@item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
-Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
+@item @strong{whole}
+  @tab semi@-breve
+  @tab semi@-breve
+  @tab ronde
+@item
+  @tab Ganze
+  @tab hele
+  @tab hel
+@item
+  @tab hel
+  @tab koko@-nuotti/@w{-tauko}
+  @tab

 
 @item
 
 
 @item
 

-@item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
-halve @tab halv @tab halv @tab puoli- @tab
+@item @strong{half}
+  @tab minim
+  @tab minima
+  @tab blanche
+@item
+  @tab Halbe
+  @tab halve
+  @tab halv
+@item
+  @tab halv
+  @tab puoli@-nuotti/@w{-tauko}
+  @tab

 
 @item
 
 
 @item
 

-@item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
-Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
+@item @strong{quarter}
+  @tab crotchet
+  @tab semiminima
+  @tab noire
+@item
+  @tab Viertel
+  @tab kwart
+  @tab fjerdedel
+@item
+  @tab fjärdedel
+  @tab neljännesosa@-nuotti/@w{-tauko}
+  @tab

 
 @item
 
 
 @item
 

-@item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
-achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
+@item @strong{eighth}
+  @tab quaver
+  @tab croma
+  @tab croche
+@item
+  @tab Achtel
+  @tab achtste
+  @tab ottendedel
+@item
+  @tab åttondel
+  @tab kahdeksasosa@-nuotti/@w{-tauko}
+  @tab

 
 @item
 
 
 @item
 

-@item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
-@tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
-@tab kuudestoistaosa- @tab
+@item @strong{sixteenth}
+  @tab semiquaver
+  @tab semicroma
+  @tab double croche
+@item
+  @tab Sechzehntel
+  @tab zestiende
+  @tab sekstendedel
+@item
+  @tab sextondel
+  @tab kuudestoistaosa@-nuotti/@w{-tauko}
+  @tab

 
 @item
 
 
 @item
 

-@item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
-triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
-@tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
+@item @strong{thirty-second}
+  @tab demisemiquaver
+  @tab biscroma
+  @tab triple croche
+@item
+  @tab Zweiunddreissigstel
+  @tab tweeendertigste
+  @tab toogtredivtedel
+@item
+  @tab trettiotvåondel
+  @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
+  @tab

 
 @item
 
 
 @item
 

-@item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
-semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
-vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
-sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
+@item @strong{sixty-fourth}
+  @tab hemidemisemiquaver
+  @tab semibiscroma
+  @tab quadruple croche
+@item
+  @tab Vierundsechzigstel
+  @tab vierenzestigste
+  @tab fireogtred@-sindstyvendedel
+@item
+  @tab sextiofjärdedel
+  @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
+  @tab

 
 @end multitable
 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
 
 @page
 
 
 @end multitable
 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
 
 @page
 

-@table @strong
+@table @code

 @item PITCH NAMES
 @end table
 
 @item PITCH NAMES
 @end table
 

-@multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111 
+@multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125

 
 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI} 
 
 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI} 

-@tab @strong{N}

 
 @item
 
 
 @item
 

-@item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab C @tab c
+@item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c

 
 @item
 
 
 @item
 

-@item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
-cis @tab cis @tab Cis @tab cis
+@item @strong{c-sharp} @tab do diesis @tab ut dièse @tab Cis @tab cis @tab
+cis @tab cis @tab cis

 
 @item
 
 
 @item
 

-@item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
-des @tab des @tab Des @tab des
+@item @strong{d-flat} @tab re bemolle @tab ré bémol @tab Des @tab des @tab
+des @tab des @tab des

 
 @item
 
 
 @item
 

-@item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab D @tab d
+@item @strong{d} @tab re @tab ré @tab D @tab d @tab d @tab d @tab d

 
 @item
 
 
 @item
 

-@item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab E @tab e
+@item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e

 
 @item
 
 
 @item
 

-@item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab F @tab f
+@item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f

 
 @item
 
 
 @item
 

-@item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab G @tab g
+@item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g

 
 @item
 
 
 @item
 

-@item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
-@tab as @tab As @tab as
+@item @strong{a-flat} @tab la bemolle @tab la bémol @tab As @tab as @tab as
+@tab as @tab as

 
 @item
 
 
 @item
 

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

 
 @item
 
 
 @item
 

-@item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
-ais @tab ais @tab Ais @tab ais
+@item @strong{a-sharp} @tab la diesis @tab la dièse @tab Ais @tab ais @tab
+ais @tab ais @tab ais

 
 @item
 
 
 @item
 

-@item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
-@tab b @tab B @tab b
+@item @strong{b-flat} @tab si bemolle @tab si bémol @tab B @tab bes @tab b
+@tab b @tab b

 
 @item
 
 
 @item
 

-@item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab H @tab h
+@item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h

 
 @end multitable
 
 
 @end multitable
 

-@
-
-@table @strong

 
 

-@item ---------------------
+@unnumbered Literature used

 
 

-@
+@itemize
+@item The Harvard Dictionary of Music, London 1944.  Many more or less
+literal quotes from its articles have been included into the item
+explanation texts.

 
 

-@item Literature used
-The Harvard Dictionary of Music, London 1944.  Many more or less literal
-quotes from its articles have been included into the item explanation texts.
+@item Hugo Riemanns Musiklexicon, Berlin 1929.

 
 

-Hugo Riemanns Musiklexicon, Berlin 1929.
+@item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.

 
 

-Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
-Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.
+@item Oxford Advanced Learner's Dictionary of Current English, Third Edition
+1974.

 
 

-@end table
+@item Webster's Revised Unabridged Dictionary, Springfield 1913.
+@end itemize

 
 @bye
 
 @bye