Francisco's latest Spanish glossary fixes and Werner's UTF-8 texinfo

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

diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely
index a743366815d12cd2ce16233f34d032a9cb0e62f3..55ac317db99ff17826cd98cc6e55e0c4d9b6375d 100644 (file)
--- a/Documentation/user/music-glossary.tely
+++ b/Documentation/user/music-glossary.tely
@@ -1,43 +1,46 @@
-                   \input texinfo  @c -*-texinfo-*-
-@settitle Music Glossary
+\input texinfo @c -*- coding: utf8; mode: texinfo; -*-

 @setfilename music-glosssary.info
 @setfilename music-glosssary.info

+@settitle Music Glossary
+
+@documentencoding utf-8
+@documentlanguage en

 
 @dircategory GNU music project
 @direntry
 
 @dircategory GNU music project
 @direntry

-* Glossary: (lilypond/music-glossary).                  Glossary of music terms.
+* Glossary: (lilypond/music-glossary).  Glossary of music terms.

 @end direntry
 
 @ifhtml
 @end direntry
 
 @ifhtml

-This document is also available in @uref{music-glossary.ps.gz,gzipped
-PostScript} and @uref{music-glossary.pdf,PDF}.
+This document is also available in
+@uref{source/Documentation/user/music-glossary.pdf,PDF}
+and as @uref{source/Documentation/user/music-glossary.html,one big page}.

 @end ifhtml
 
 @titlepage
 @title Music Glossary
 @author Christian Mondrup   @c Original author of LilyPond glossary
 @c                             Danish glossary
 @end ifhtml
 
 @titlepage
 @title Music Glossary
 @author Christian Mondrup   @c Original author of LilyPond glossary
 @c                             Danish glossary

-@author Fran@,{c}ois Pinard @c Original glossary of GNU music project,
+@author François Pinard           @c Original glossary of GNU music project,

 @c                             French glossary
 @author Han-Wen Nienhuys    @c Dutch glossary
 @author Jan Nieuwenhuizen   @c Dutch glossary
 @c                             French glossary
 @author Han-Wen Nienhuys    @c Dutch glossary
 @author Jan Nieuwenhuizen   @c Dutch glossary

-@author Dadiv Gonzalez      @c Spanish glossary
+@author David González      @c Spanish glossary

 @author Bjoern Jacke        @c German glossary
 @author Neil Jerram         @c English glossary translations
 @author Mats Bengtsson      @c Swedish glossary
 @author Adrian Mariano      @c Italian glossary
 @author Heikki Junes        @c Finnish glossary
 
 @author Bjoern Jacke        @c German glossary
 @author Neil Jerram         @c English glossary translations
 @author Mats Bengtsson      @c Swedish glossary
 @author Adrian Mariano      @c Italian glossary
 @author Heikki Junes        @c Finnish glossary
 

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

 
 

-Copyright @copyright{} 1999--2004 by the authors
+Copyright @copyright{} 1999--2006 by the authors

 
 
   Permission is granted to copy, distribute and/or modify this document
   under the terms of the GNU Free Documentation License, Version 1.1
   or any later version published by the Free Software Foundation,
   without Invariant Sections.
 
 
   Permission is granted to copy, distribute and/or modify this document
   under the terms of the GNU Free Documentation License, Version 1.1
   or any later version published by the Free Software Foundation,
   without Invariant Sections.

-  
+

 @end titlepage
 
 
 @end titlepage
 
 


@@ -52,21 +55,20 @@ Copyright @copyright{} 1999--2004 by the authors
 
 @ifnottex
 @node Top
 
 @ifnottex
 @node Top

-@top Music Glossary
-@chapter Music Glossary
-@menu
-@end menu
+@top Music glossary

 @end ifnottex
 
 @end ifnottex
 

+This glossary was brought you by
+

 @ifnottex
 @ifnottex

-@table @samp
+@table @code

 @item Adrian Mariano
 Italian glossary,
 @item Bjoern Jacke
 German glossary,
 @item Christian Mondrup
 Original author of LilyPond glossary, Danish glossary,
 @item Adrian Mariano
 Italian glossary,
 @item Bjoern Jacke
 German glossary,
 @item Christian Mondrup
 Original author of LilyPond glossary, Danish glossary,

-@item Dadiv Gonzalez
+@item David González

 Spanish glossary,
 @item Fran@,{c}ois Pinard
 Original glossary of GNU music project, French glossary,
 Spanish glossary,
 @item Fran@,{c}ois Pinard
 Original glossary of GNU music project, French glossary,


@@ -82,19 +84,15 @@ English glossary translations,
 Finnish glossary translations.
 @end table
 @*
 Finnish glossary translations.
 @end table
 @*

-Copyright 1999--2004 by the authors
+Copyright 1999--2006 by the authors

 
 
   Permission is granted to copy, distribute and/or modify this document
   under the terms of the GNU Free Documentation License, Version 1.1
   or any later version published by the Free Software Foundation,
   without Invariant Sections.
 
 
   Permission is granted to copy, distribute and/or modify this document
   under the terms of the GNU Free Documentation License, Version 1.1
   or any later version published by the Free Software Foundation,
   without Invariant Sections.

-  

 
 @*
 
 @*

-
-@*
-

 @end ifnottex
 
 @c @pagesizes 10.3in
 @end ifnottex
 
 @c @pagesizes 10.3in


@@ -104,46 +102,27 @@ Copyright 1999--2004 by the authors
 
 @include macros.itexi
 
 
 @include macros.itexi
 

-
-@ignore
-We do not use refs for Info:
-
-   @w{@arrow{}\word\}@c vs:
-   @w{@arrow{}@pxref{\word\}}@c
-
-they look too intrusive (says Han-Wen).
-@end ignore
-
-

 @c arrowref
 @macro aref{word}
 @iftex
 @w{@arrow{}@strong{\word\}}@c
 @end iftex
 @c arrowref
 @macro aref{word}
 @iftex
 @w{@arrow{}@strong{\word\}}@c
 @end iftex

-@ifhtml
+@ifnottex

 @arrow{}@ref{\word\, @strong{\word\}}@c
 @arrow{}@ref{\word\, @strong{\word\}}@c

-@end ifhtml 
-@ifinfo
-@w{@arrow{}\word\}@c
-@end ifinfo
+@end ifnottex

 @end macro
 
 @end macro
 

+@menu
+* Musical terms A-Z::           
+* Duration names notes and rests::  
+* Pitch names::                 
+* Literature used::             
+@end menu

 
 

-@c If we want hypelinks, we must add anchors.
-@c Hmm, we need the @achor command in the item description itself
-@c (not before or after) to get mozilla jump to the right place.
-@c anchoritem
-@macro aitem{word}
-@item \word\@anchor{\word\}
-@end macro
-@macro aitemii{one,two}
-@item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
-@end macro
-@macro aitemiii{one,two,three}
-@item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
-@end macro
-
+@node Musical terms A-Z
+@chapter Musical terms A-Z

 
 

+Languages in this order.

 @itemize
 @item ES - Spanish
 @item I - Italian
 @itemize
 @item ES - Spanish
 @item I - Italian


@@ -156,14 +135,275 @@ they look too intrusive (says Han-Wen).
 @item FI - Finnish
 @end itemize
 
 @item FI - Finnish
 @end itemize
 

-This is an example reference, that points you to the @aref{accent}
-entry.
+@menu
+* A::                           
+* accent::                      
+* accessory::                   
+* accidental::                  
+* accelerando::                 
+* adagio::                      
+* allegro::                     
+* alteration::                  
+* alto::                        
+* alto clef::                   
+* ambit::                       
+* ancient minor scale::         
+* andante::                     
+* appoggiatura::                
+* arpeggio::                    
+* ascending interval::          
+* augmented interval::          
+* autograph::                   
+* B::                           
+* backfall::                    
+* bar::                         
+* bar line::                    
+* baritone::                    
+* baritone clef::               
+* bass clef::                   
+* bass::                        
+* beam::                        
+* beat::                        
+* bind::                        
+* brace::                       
+* brass::                       
+* breath mark::                 
+* breve::                       
+* C::                           
+* C clef::                      
+* cadence::                     
+* cadenza::                     
+* canon::                       
+* cent::                        
+* central C::                   
+* chord::                       
+* chromatic scale::             
+* chromaticism::                
+* church mode::                 
+* clef::                        
+* cluster::                     
+* comma::                       
+* common meter::                
+* compound interval::           
+* complement::                  
+* conjunct movement::           
+* consonance::                  
+* contralto::                   
+* counterpoint::                
+* counter tenor::               
+* copying music::               
+* crescendo::                   
+* cue-notes::                   
+* custos::                      
+* D::                           
+* da capo::                     
+* dal segno::                   
+* decrescendo::                 
+* descending interval::         
+* diatonic scale::              
+* diminished interval::         
+* diminuendo::                  
+* disjunct movement::           
+* dissonance::                  
+* dissonant interval::          
+* dominant ninth chord::        
+* dominant seventh chord::      
+* dominant::                    
+* dorian mode::                 
+* dot (augmentation dot)::      
+* dotted note::                 
+* double appoggiatura::         
+* double bar line::             
+* double dotted note::          
+* double flat::                 
+* double sharp::                
+* double trill::                
+* duple meter::                 
+* duplet::                      
+* duration::                    
+* dydimic comma::               
+* E::                           
+* ecclesiastical mode::         
+* eighth note::                 
+* eighth rest::                 
+* embellishment::               
+* engraving::                   
+* enharmonic::                  
+* equal temperament::           
+* expression mark::             
+* F::                           
+* F clef::                      
+* fermata::                     
+* fifth::                       
+* figured bass::                
+* fingering::                   
+* flag::                        
+* flat::                        
+* forefall::                    
+* forte::                       
+* fourth::                      
+* fugue::                       
+* functional harmony::          
+* G::                           
+* G clef::                      
+* glissando::                   
+* grace notes::                 
+* grand staff::                 
+* grave::                       
+* gruppetto::                   
+* half note::                   
+* half rest::                   
+* harmonic cadence::            
+* harmony::                     
+* homophony::                   
+* interval::                    
+* inverted interval::           
+* just intonation::             
+* key::                         
+* key signature::               
+* largo::                       
+* leading note::                
+* ledger line::                 
+* legato::                      
+* legato curve::                
+* leger line::                  
+* lilypond::                    
+* ligature::                    
+* line::                        
+* long appoggiatura::           
+* longa::                       
+* lyrics::                      
+* major interval::              
+* major::                       
+* meantone temperament::        
+* measure::                     
+* mediant::                     
+* melisma::                     
+* melodic cadence::             
+* meter::                       
+* metronome::                   
+* metronomic indication::       
+* mezzo-soprano::               
+* middle C::                    
+* minor::                       
+* minor interval::              
+* mode::                        
+* modulation::                  
+* mordent::                     
+* motif::                       
+* motive::                      
+* movement::                    
+* multibar rest::               
+* mixolydian mode::             
+* natural sign::                
+* neighbour tones::             
+* ninth::                       
+* non-legato::                  
+* note::                        
+* note head::                   
+* note value::                  
+* octave sign::                 
+* octave::                      
+* ornament::                    
+* ossia::                       
+* part::                        
+* pennant::                     
+* percussion::                  
+* perfect interval::            
+* phrase::                      
+* phrasing::                    
+* piano::                       
+* pitch::                       
+* pizzicato::                   
+* polyphony::                   
+* portato::                     
+* presto::                      
+* Pythagorean comma::           
+* quadruplet::                  
+* quarter note::                
+* quarter rest::                
+* quintuplet::                  
+* rallentando::                 
+* relative key::                
+* repeat::                      
+* rest::                        
+* rhythm::                      
+* ritardando::                  
+* ritenuto::                    
+* scale::                       
+* scale degree::                
+* score::                       
+* second::                      
+* semitone::                    
+* seventh::                     
+* sextolet::                    
+* sextuplet::                   
+* shake::                       
+* sharp::                       
+* short appoggiatura::          
+* sixteenth note::              
+* sixteenth rest::              
+* sixth::                       
+* sixty-fourth note::           
+* sixty-fourth rest::           
+* slur::                        
+* solmization::                 
+* sonata::                      
+* sonata form::                 
+* song texts::                  
+* soprano::                     
+* staccato::                    
+* staff::                       
+* staves::                      
+* stem::                        
+* strings::                     
+* strong beat::                 
+* subdominant::                 
+* submediant::                  
+* subtonic::                    
+* superdominant::               
+* supertonic::                  
+* symphony::                    
+* syncopation::                 
+* syntonic comma::              
+* system::                      
+* temperament::                 
+* tempo indication::            
+* tenor::                       
+* tenth::                       
+* tenuto::                      
+* third::                       
+* thirty-second note::          
+* thirty-second rest::          
+* thorough bass::               
+* tie::                         
+* time::                        
+* time signature::              
+* tone::                        
+* tonic::                       
+* transposition::               
+* treble clef::                 
+* tremolo::                     
+* triad::                       
+* trill::                       
+* triple meter::                
+* triplet::                     
+* tritone::                     
+* tuning fork::                 
+* turn::                        
+* unison::                      
+* upbeat::                      
+* voice::                       
+* weak beat::                   
+* whole note::                  
+* whole rest::                  
+* whole tone::                  
+* woodwind::                    
+@end menu

 
 

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

 
 

-@aitem{A}

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


@@ -173,7 +413,9 @@ DK: a,
 S: a,
 FI: A, a.
 
 S: a,
 FI: A, a.
 

-@aitem{accent}
+@node accent
+@section accent
+

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


@@ -185,52 +427,59 @@ FI: aksentti, korostus.
 
 The stress of one tone over others.
 
 
 The stress of one tone over others.
 

-@c F: how to distinguish between accidental and key-sig alteration?
+@node accessory
+@section accessory

 
 

-@aitem{accidental}
-ES: alteraci@'on,
-I: alterazione, accidente,
-F: alt@'eration
-D: Vorzeichen, Versetzungszeichen,
-NL: voorteken,
-DK: l@o{}st fortegn,
-S: tillf@"alligt f@"ortecken,
-FI: tilap@"ainen etumerkki.
-
-@c F: alt@'eration accidentelle,  D: Vorzeichen, Versetzungszeichen,
-@c Akzidenz, NL: toevallig teken, I: accidento.
+@aref{ornament}.

 
 

-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
+@node accidental
+@section accidental
+
+ES: alteración accidental,
+I: accidento,
+F: altération accidentelle,
+D: Vorzeichen, Versetzungszeichen, Akzidenz,
+NL: toevallig (verplaatsings)teken,
+DK: løst fortegn,
+S: tillfälligt förtecken,
+FI: tilapäinen etumerkki.
+
+An accidental has the effect of an @aref{alteration} of a note.  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

 accidental.
 
 accidental.
 

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override TextScript   #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
-  gis1 s s gisis s s ges s s geses s s g!
-}
-\context Lyrics \lyrics {
-  \override Lyrics .LyricText   #'self-alignment-X = #-1
-  "sharp  " "db. sharp  " "flat  " "db. flat  " natural
-}
+<< 
+  \context Staff \relative c'' {
+    gis1 gisis ges geses g!
+  }
+  \lyrics {
+    \override Lyrics .LyricText #'self-alignment-X = #-1
+    sharp "db. sharp" flat "db. flat" natural
+  }
+>>

 @end lilypond
 
 @end lilypond
 

-@aitem{accelerando}
-ES: acelerando,
+@node accelerando
+@section accelerando
+
+ES: accelerando,

 I: accelerando,
 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.
+FI: accelerando, kiihdyttäen.

 
 Increase tempo.
 
 
 Increase tempo.
 

-@aitem{adagio}
+@node adagio
+@section adagio
+

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


@@ -240,85 +489,113 @@ DK: adagio,
 S: adagio,
 FI: adagio, hitaasti.
 
 S: 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}
+@node allegro
+@section allegro
+

 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,
 FI: allegro, nopeasti.
 
 NL: allegro,
 DK: allegro,
 S: 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}.
+
+@node alteration
+@section alteration
+
+ES: alteración,
+I: alterazione
+F: altération
+D:
+NL: verhoging of verlaging,
+DK:
+S:
+FI:
+
+An alteration is the modification, raising or lowering, of a note's
+pitch.  It is established by an @aref{accidental}.
+
+@node alto
+@section alto

 
 

-@aitem{alto}

 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.
+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}.
+@node alto clef
+@section alto clef

 
 

-@aitem{alto clef}

 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,
 FI: alttoavain.
 
 C clef setting middle C on the middle line of the staff
 @aref{C clef}.
 
 S: altklav,
 FI: alttoavain.
 
 C clef setting middle C on the middle line of the staff
 @aref{C clef}.
 

-@aitem{ambit}
-ES: ambitus,
+@node ambit
+@section ambit
+
+ES: ámbito,

 I: ambitus,
 F: ambitus,
 D: ambitus,
 NL: ambitus,
 DK: ambitus,
 S: ambitus,
 I: ambitus,
 F: ambitus,
 D: ambitus,
 NL: ambitus,
 DK: ambitus,
 S: ambitus,

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

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

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

-@aitem{ancient minor scale}
+@node ancient minor scale
+@section ancient minor scale
+
+ES: escala menor antigua,

 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,
 FI: luonnollinen molliasteikko.
 
 D: reines Moll,
 NL: authentieke mineurtoonladder,
 DK: ren mol,
 S: ren mollskala,
 FI: luonnollinen molliasteikko.
 

-@aref{diatonic scale} (ancient minor).
+@aref{diatonic scale}.

 
 

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

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

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

-@aitem{andante}
+@node andante
+@section andante
+

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


@@ -326,56 +603,59 @@ D: Andante, Gehend,
 NL: andante,
 DK: andante,
 S: andante,
 NL: andante,
 DK: andante,
 S: andante,

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

 
 Walking tempo/character.
 
 
 Walking tempo/character.
 

-@aitem{appoggiatura}
+@node appoggiatura
+@section appoggiatura
+

 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,
+S: förslag,

 FI: appoggiatura, etuhele.
 
 FI: appoggiatura, etuhele.
 

-Ornamental note, usually a second, that is melodically connected with the main
-note following 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[line-width=13.0\cm]
+\context Voice \relative c'' {
+  \key d \major
+  \time 4/4

 
 

-%\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
+%\override Score.TextScript #'font-style = #'large
+  <d a fis>4_"notation" r
+  { \override Stem #'flag-style = #'()
+    \grace g16
+    \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 }
+  fis8 e16 fis
+  { \override Stem #'flag-style = #'()
+    \grace a16
+    \revert Stem #'flag-style
+  }
+  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[line-width=13.0\cm]
+\relative c'' {

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

-%  \override Score.TextScript   #'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 "||"


@@ -386,18 +666,20 @@ An appoggiatura may have more notes preceding the main note.
 }
 @end lilypond
 
 }
 @end lilypond
 

-@aitem{arpeggio}
+@node arpeggio
+@section arpeggio
+

 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,
 FI: arpeggio, murtosointu.
 
 NL: gebroken akoord,
 DK: arpeggio, akkordbrydning,
 S: arpeggio,
 FI: arpeggio, murtosointu.
 

-@lilypond
-\notes \context PianoStaff <<
+@lilypond[fragment,line-width=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


@@ -416,8 +698,10 @@ FI: arpeggio, murtosointu.
 >>
 @end lilypond
 
 >>
 @end lilypond
 

-@aitem{ascending interval}
-ES: Intervalo ascendente,
+@node ascending interval
+@section ascending interval
+
+ES: intervalo ascendente,

 I: intervallo ascendente,
 F: intervalle ascendant,
 D: steigendes Intervall,
 I: intervallo ascendente,
 F: intervalle ascendant,
 D: steigendes Intervall,


@@ -428,34 +712,41 @@ 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}
+@node augmented interval
+@section augmented interval
+

 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,
+DK: forstørret interval,
+S: överstigande intervall,

 FI: ylinouseva intervalli.
 
 @aref{interval}.
 
 FI: ylinouseva intervalli.
 
 @aref{interval}.
 

-@aitem{autograph       }
+@node autograph
+@section autograph
+
+ES: manuscrito,

 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.
+FI: käsinkirjoitettu nuotti.

 
 

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

-@aitem{B}
+@node B
+@section B
+

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


@@ -465,11 +756,20 @@ DK: h,
 S: h,
 FI: H, h.
 
 S: h,
 FI: H, h.
 

-@aitemii{backfall,forefall}
+@node backfall
+@section backfall
+

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

-@aitem{bar line}
-ES: ?,
+@node bar
+@section bar
+
+@aref{measure}.
+
+@node bar line
+@section bar line
+
+ES: barra, línea divisoria,

 I: stanghetta, barra (di divisione),
 F: barre (de mesure),
 D: Taktstrich,
 I: stanghetta, barra (di divisione),
 F: barre (de mesure),
 D: Taktstrich,


@@ -478,88 +778,99 @@ DK: taktstreg,
 S: taktstreck,
 FI: tahtiviiva.
 
 S: taktstreck,
 FI: tahtiviiva.
 

-@aitem{bar}
-ES: comp@'as, @aref{measure}.
+@node baritone
+@section baritone

 
 

-@aitem{baritone}
-ES: bar@'{@dotless{i}}tono,
+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.
+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
+
+@node baritone clef
+@section baritone clef

 
 

-@aitem{baritone clef}

 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,
 FI: baritoniavain.
 
 C or F clef setting middle C on the upper staff line.
 @aref{C clef}, @aref{F clef}.
 
 S: barytonklav,
 FI: baritoniavain.
 
 C or F clef setting middle C on the upper staff line.
 @aref{C clef}, @aref{F clef}.
 

-@aitem{bass clef}
+@node bass clef
+@section bass clef
+

 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,
 FI: bassoavain.
 
 A clef setting with middle C on the first top ledger line.
 @aref{F clef}.
 
 S: basklav,
 FI: bassoavain.
 
 A clef setting with middle C on the first top ledger line.
 @aref{F clef}.
 

-@aitem{bass}
+@node bass
+@section bass
+
+ES: bajo,

 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.
+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}
+@node beam
+@section beam
+
+ES: barra

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

-DK: bj@ae{}lke,
+DK: bjælke,

 S: balk,
 FI: palkki.
 
 Line connecting a series of notes (shorter than a quarter note).
 S: balk,
 FI: palkki.
 
 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]
+@lilypond[fragment,notime,line-width=13.0\cm]

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override TextScript   #'font-style = #'large
-\notes\relative c'' {
+%\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}
-ES: tiempo,
+@node beat
+@section beat
+
+ES: tiempo, parte (de compás)

 I: tempi,
 F: temps,
 D: Takt, Taktschlag, Zeit (im Takt),
 I: tempi,
 F: temps,
 D: Takt, Taktschlag, Zeit (im Takt),


@@ -572,18 +883,22 @@ 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.
 
 The base counting value and the number of them per measure is indicated at
 the start of the music.
 

-@lilypond
+@lilypond[fragment,line-width=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}
+@node bind
+@section bind
+

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

-@aitem{brace}
+@node brace
+@section brace
+

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


@@ -591,69 +906,77 @@ D: Klammer, Akkolade,
 NL: accolade, teksthaak,
 DK: klamme,
 S: klammer,
 NL: accolade, teksthaak,
 DK: klamme,
 S: klammer,

-FI: yhdist@"av@"a sulkumerkki.
+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,ragged-right]
+\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,ragged-right]

 \context StaffGroup <<
 %  \set StaffGroup.minVerticalAlign = #12
 \context StaffGroup <<
 %  \set StaffGroup.minVerticalAlign = #12

-  \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
-  \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
+  \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}
+@node brass
+@section brass
+

 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,
+DK: messingblæsere,
+S: brassinstrument, mässingsinstrument,

 FI: vaskisoitin.
 
 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}
+@node breath mark
+@section breath mark
+
+ES: respiración,

 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,
 FI: hengitysmerkki.
 
 Indication of where to breathe in vocal and wind instrument parts.
 S: andningstecken,
 FI: hengitysmerkki.
 
 Indication of where to breathe in vocal and wind instrument parts.

+@node breve
+@section breve

 
 

-@aitem{breve}
-ES: breve,
+ES: cuadrada, breve,

 I: breve,
 I: breve,

-F: br@`eve,
+F: brève,

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

-@aref{note value} twice as long as a whole note.  Mainly used
+@aref{note value}, twice as long as a whole note.  Mainly used

 in pre-1650 music.
 
 in pre-1650 music.
 

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-\notes\relative c'' { g\breve }
+\relative c'' { g\breve }

 @end lilypond
 
 @end lilypond
 

-@aitem{C}
+@node C
+@section C
+

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


@@ -663,38 +986,42 @@ DK: c,
 S: c,
 FI: C, c.
 
 S: c,
 FI: C, c.
 

-@aitem{C clef}
-ES: Clave de do,
+@node C clef
+@section C clef
+
+ES: clave de do,

 I: chiave di 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,
 FI: C-avain.
 
 Clef symbol indicating the position of the middle C.  Used on all note
 lines.
 
 S: c-klav,
 FI: C-avain.
 
 Clef symbol indicating the position of the middle C.  Used on all note
 lines.
 

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-\override Score.Clef   #'full-size-change = ##t
-%\override Score.LyricText   #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c' {
-  \clef soprano c1 s s
-  \clef mezzosoprano c s s
-  \clef alto c s s
-  \clef tenor c s s
-  \clef baritone c s s
-}
-\context Lyrics \lyrics {
-  \override Lyrics .LyricText   #'self-alignment-X = #-1
-  "Soprano  " "Mezzosoprano  " "Alto  " "Tenor  " Baritone
-}
+\override Score.Clef #'full-size-change = ##t
+<<
+  \context Staff \relative c' {
+    \clef soprano c1 
+    \clef mezzosoprano c 
+    \clef alto c 
+    \clef tenor c 
+    \clef baritone c 
+  }
+  \context Lyrics \lyrics {
+    \override Lyrics .LyricText #'self-alignment-X = #-1
+    "Soprano  " "Mezzosoprano  " "Alto  " "Tenor  " Baritone
+  }
+>>

 @end lilypond
 
 @end lilypond
 

-@aitem{cadence}
+@node cadence
+@section cadence
+

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


@@ -706,7 +1033,9 @@ FI: kadenssi, lopuke.
 
 @aref{harmonic cadence}, @aref{functional harmony}.
 
 
 @aref{harmonic cadence}, @aref{functional harmony}.
 

-@aitem{cadenza}
+@node cadenza
+@section cadenza
+

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


@@ -717,12 +1046,14 @@ S: kadens,
 FI: kadenssi, lopuke.
 
 An extended, improvisatory style section inserted near the end of
 FI: kadenssi, lopuke.
 
 An extended, improvisatory style section inserted near the end of

-movement.  The purpose of a cadenza is to give 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.
+
+@node canon
+@section canon

 
 

-@aitem{canon}

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


@@ -730,11 +1061,13 @@ D: Kanon,
 NL: canon,
 DK: kanon,
 S: kanon,
 NL: canon,
 DK: kanon,
 S: kanon,

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

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

-@aitem{cent}
+@node cent
+@section cent
+

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


@@ -742,16 +1075,21 @@ 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.
+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}
+@node central C
+@section central C
+

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

-@aitem{chord}
+@node chord
+@section chord
+

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


@@ -761,8 +1099,10 @@ DK: akkord,
 S: ackord,
 FI: sointu.
 
 S: ackord,
 FI: sointu.
 

-Three or more tones sounding simultaneously.  In traditional European music the
-base chord is a @emph{triad} consisting of 2@w{ }thirds.  @emph{Major} (major +
+Three or more tones sounding simultaneously.  In traditional European music
+the
+base chord is a @emph{triad} consisting of 2@w{ }thirds.  @emph{Major} (major
++

 minor @aref{third}) as well as @emph{minor} (minor + major third)
 chords may be extended with more thirds.  Four-tone @emph{seventh chords}
 and five-tone @emph{ninth} major chords are most often used as dominants
 minor @aref{third}) as well as @emph{minor} (minor + major third)
 chords may be extended with more thirds.  Four-tone @emph{seventh chords}
 and five-tone @emph{ninth} major chords are most often used as dominants


@@ -770,30 +1110,36 @@ 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]
+@lilypond[fragment,notime,line-width=13.0\cm]

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override TextScript   #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
-  <g b d>1 s s
-  <g bes d> s s
-  <g bes des> s s
-  <g b dis> s s
-  <g b d f> s s
-  <g b d f a> s s
+%\override TextScript #'font-style = #'large
+<<
+\context Staff \relative c'' {
+  <g b d>1 
+  <g bes d>
+  <g bes des>
+  <g b dis> 
+  <g b d f> 
+  <g b d f a> 

 }
 }

-\context Lyrics \lyrics{
-  \override Lyrics .LyricText   #'self-alignment-X = #-1
-  "major  " "minor  " "diminished  " "augmented  "
-  "seventh-chord  " "ninth-chord  "
+\lyrics{
+  "major  "
+  "minor  "
+  "diminished  "
+  "augmented  "
+  "seventh-chord  "
+  ninth-chord

 }
 }

+>>

 @end lilypond
 
 @end lilypond
 

-@aitem{chromatic scale}
-ES: escala crom@'atica,
+@node chromatic scale
+@section chromatic scale
+
+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,


@@ -801,12 +1147,14 @@ FI: kromaattinen asteikko.
 
 A scale consisting of all 12 @aref{semitone}s.
 
 
 A scale consisting of all 12 @aref{semitone}s.
 

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-\notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
+\relative c' { c1 cis d dis e f fis g gis a ais b c }

 @end lilypond
 
 @end lilypond
 

-@aitem{chromaticism}
+@node chromaticism
+@section chromaticism
+

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


@@ -818,31 +1166,38 @@ 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,
+@node church mode
+@section church mode
+
+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.
+FI: moodi, kirkkosävellaji.

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

-@aitem{clef}
+@node clef
+@section clef
+

 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,
 FI: avain, nuottiavain.
 
 @aref{C clef}, @aref{F clef}, @aref{G clef}.
 
 S: klav,
 FI: avain, nuottiavain.
 
 @aref{C clef}, @aref{F clef}, @aref{G clef}.
 

-@aitem{cluster}
+@node cluster
+@section cluster
+
+ES: racimo.

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


@@ -866,30 +1221,36 @@ geometrically describes the development of a range of pitches
 geometrical shape of a cluster covers the area in which any single
 pitch contained in the cluster would be notated as an ordinary note.
 
 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[relative=2,verbatim]
-    \apply #notes-to-clusters {  <c e > <b f'> <b g'> <c g> <f e>  }
+@lilypond[fragment,relative=2,verbatim,ragged-right]
+\makeClusters { <c e> <b f'> <b g'> <c g> <f e> }

 @end lilypond
 
 @end lilypond
 

+@node comma
+@section comma

 
 

-@aitem{comma}
+ES: coma, comma,

 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.
+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}
+@node common meter
+@section common meter
+

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

-@aitem{compound interval}
+@node compound interval
+@section compound interval
+

 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,
 D: weites Intervall,
 NL: samengesteld interval,
 DK: sammensat interval,


@@ -900,36 +1261,43 @@ Intervals larger than an octave.
 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitem{complement}
+@node complement
+@section complement
+
+ES: intervalo invertido,

 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.
+DK: komplementærinterval,
+S: komplementärintervall (?),
+FI: täydentävä intervalli.

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

-@aitem{conjunct movement}
+@node conjunct movement
+@section conjunct movement
+

 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,
+DK: trinvis bevægelse,
+S: stegvis rörelse,

 FI: asteittainen liike.
 
 FI: asteittainen liike.
 

-Progressing melodically by intervals of a second.  Opposite of @aref{disjunct movement}.
+Progressing melodically by intervals of a second.  The opposite of a
+@aref{disjunct movement}.

 
 

-
-@lilypond
+@lilypond[fragment,line-width=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}
+@node consonance
+@section consonance
+

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


@@ -941,7 +1309,9 @@ FI: konsonanssi, sopusointi.
 
 @aref{harmony}.
 
 
 @aref{harmony}.
 

-@aitem{contralto}
+@node contralto
+@section contralto
+

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


@@ -953,7 +1323,9 @@ FI: kontra-altto.
 
 @aref{alto}.
 
 
 @aref{alto}.
 

-@aitem{counterpoint}
+@node counterpoint
+@section counterpoint
+

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


@@ -961,7 +1333,7 @@ D: Kontrapunkt,
 NL: contrapunt,
 DK: kontrapunkt,
 S: kontrapunkt,
 NL: contrapunt,
 DK: kontrapunkt,
 S: kontrapunkt,

-FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan.
+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


@@ -972,9 +1344,9 @@ 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]
-\set Score.TimeSignature =\turnOff
-\notes\context PianoStaff <<
+@lilypond[fragment,staffsize=12,line-width=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


@@ -1008,11 +1380,13 @@ composition methods.
 >>
 @end lilypond
 
 >>
 @end lilypond
 

-@aitem{counter tenor}
+@node counter tenor
+@section counter tenor
+

 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,


@@ -1020,14 +1394,18 @@ FI: kontratenori.
 
 @aref{contralto}.
 
 
 @aref{contralto}.
 

-@aitem{Copying, Music}
+@node copying music
+@section copying music
+

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

-@aitem{crescendo}
+@node crescendo
+@section crescendo
+

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


@@ -1040,15 +1418,17 @@ 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,ragged-right]

 \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}
-ES: notas guia,
+@node cue-notes
+@section cue-notes
+
+ES: notas guía,

 I: notine,
 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,
 D: Stichnoten,
 NL: stichnoten,
 DK: stiknoder,


@@ -1058,10 +1438,11 @@ 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}
+@node custos
+@section custos

 
 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.


@@ -1074,35 +1455,39 @@ of the 20th century
 
 @lilypond
 \score {
 
 @lilypond
 \score {

-    \notes {
-%      \override Staff.Custos #'neutral-position = #4
-       \override Staff.Custos #'neutral-direction = #-1
+  {
+%   \override Staff.Custos #'neutral-position = #4
+    \override Staff.Custos #'neutral-direction = #down
+    \override Staff.Custos #'style = #'hufnagel
+    c'1 \break
+    <d' a' f''>1
+  }

 
 

-       \override Staff.Custos #'style = #'hufnagel
-       c'1
-       \break < d' a' f''>1
-    }
-    \paper {
-       \context {
-           \StaffContext
-           \consists Custos_engraver
-       }
-       raggedright = ##t
+  \layout {
+    \context {
+      \Staff
+      \consists Custos_engraver

     }
     }

+    ragged-right = ##t
+  }

 }
 @end lilypond
 }
 @end lilypond

-  
-@aitem{D}
-ES: Re,
+
+@node D
+@section D
+
+ES: re,

 I: re,
 I: re,

-F: r@'e,
+F: ré,

 D: D, d,
 NL: d,
 DK: d,
 S: d,
 FI: D, d.
 
 D: D, d,
 NL: d,
 DK: d,
 S: d,
 FI: D, d.
 

-@aitem{da capo}
+@node da capo
+@section da capo
+

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


@@ -1112,30 +1497,40 @@ DK: da capo,
 S: da capo,
 FI: da capo, alusta.
 
 S: da capo,
 FI: da capo, alusta.
 

-The term indicates repetition of the piece from the beginning to the end or to
-a certain place marked @emph{fine}.  Mostly abbreviated as ``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.''.
+
+@node dal segno
+@section dal segno

 
 

-@aitem{dal segno}

 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, lähtien merkistä.
+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
-%\override TextScript   #'font-style = #'large
-\override TextScript   #'font-shape = #'italic
+@lilypond[fragment,ragged-right]
+%\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_\markup{ \line < "d.s. " \small \raise #1 \musicglyph #"scripts-segno" > } \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}
+@node decrescendo
+@section decrescendo
+

 ES: decrescendo,
 I: decrescendo,
 D: Decrescendo, leiser werden,
 ES: decrescendo,
 I: decrescendo,
 D: Decrescendo, leiser werden,


@@ -1147,14 +1542,16 @@ 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,ragged-right]
+\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}
+@node descending interval
+@section descending interval
+

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


@@ -1166,8 +1563,10 @@ 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,
+@node diatonic scale
+@section diatonic scale
+
+ES: escala diatónica,

 I: scala diatonica,
 F: gamme diatonique,
 D: diatonische Tonleiter,
 I: scala diatonica,
 F: gamme diatonique,
 D: diatonische Tonleiter,


@@ -1180,95 +1579,93 @@ 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.
 
 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 in 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]
+@lilypond[fragment,notime,ragged-right]

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override Score.LyricText   #'font-style = #'large
-%\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \context Staff \notes\relative c' {
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+<<
+  \context Staff \relative c' {

     c1 d
     c1 d

-    \override TextScript   #'padding = #-4
+    \override TextScript #'padding = #-4

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

+>>

 @end lilypond
 
 @end lilypond
 

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override Score.LyricText   #'font-style = #'large
-%\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \context Staff \notes\relative c' {
+<<
+  \context Staff \relative c' {

     d1
     d1

-    \override TextScript   #'padding = #-4
+    \override TextScript #'padding = #-4

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

-  \context Lyrics \lyrics {
+  \lyrics {

     Dorian
   }
     Dorian
   }

+>>

 @end lilypond
 
 @end lilypond
 

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override Score.LyricText   #'font-style = #'large
-%\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c' {
-    \override TextScript   #'padding = #-4
+<<
+  \relative c' {
+    \override TextScript #'padding = #-4

     e1^"~~ S" f g a b^"~~ S" c d e
   }
     e1^"~~ S" f g a b^"~~ S" c d e
   }

-  \context Lyrics \lyrics {
+  \lyrics {

     Phrygian
   }
     Phrygian
   }

+>>

 @end lilypond
 
 @end lilypond
 

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override Score.LyricText   #'font-style = #'large
-%\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c' {
+<<
+  \relative c' {

     f1 g a
     f1 g a

-    \override TextScript   #'padding = #-4
+    \override TextScript #'padding = #-4

     b^"~~ S" c d e^"~~ S" f
   }
     b^"~~ S" c d e^"~~ S" f
   }

-  \context Lyrics \lyrics {
+  \lyrics {

     Lydian
   }
     Lydian
   }

+>>

 @end lilypond
 
 @end lilypond
 

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override Score.LyricText   #'font-style = #'large
-%\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c'' {
+<<
+  \relative c'' {

     g1 a
     g1 a

-    \override TextScript   #'padding = #-4
+    \override TextScript #'padding = #-4

     b^"~~ S" c d e^"~~ S" f g }
     b^"~~ S" c d e^"~~ S" f g }

-  \context Lyrics \lyrics {
+  \lyrics {

     Mixolydian
   }
     Mixolydian
   }

+>>

 @end lilypond
 
 @end lilypond
 

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override Score.LyricText   #'font-style = #'large
-%\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c'' {
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+<<
+  \relative c'' {

     a1
     a1

-    \override TextScript   #'padding = #-4
+    \override TextScript #'padding = #-4

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

-  \context Lyrics \lyrics {
+  \lyrics {

     Aeolian
   }
     Aeolian
   }

+>>

 @end lilypond
 
 From the beginning of the 17th century the scales used in European
 @end lilypond
 
 From the beginning of the 17th century the scales used in European


@@ -1276,80 +1673,82 @@ 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]
+@lilypond[fragment,notime,ragged-right]

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override Score.LyricText   #'font-style = #'large
-%\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c' {
+<<
+  \relative c' {

     c1 d
     c1 d

-    \override TextScript   #'padding = #-4
+    \override TextScript #'padding = #-4

     e^"~~ S" f g a b^"~~ S" c
   }
     e^"~~ S" f g a b^"~~ S" c
   }

-  \context Lyrics \lyrics {
+ \lyrics {

     Major
   }
     Major
   }

+>>

 @end lilypond
 
 @end lilypond
 

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override Score.LyricText   #'font-style = #'large
-%\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c'' {
+<<
+  \relative c'' {

     a1
     a1

-    \override TextScript   #'padding = #-4
+    \override TextScript #'padding = #-4

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

-  \context Lyrics \lyrics {
+ \lyrics {

     "ancient minor"
   }
     "ancient minor"
   }

+>>

 @end lilypond
 
 @end lilypond
 

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override Score.LyricText   #'font-style = #'large
-%\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c'' {
+<<
+  \relative c'' {

     a1
     a1

-    \override TextScript   #'padding = #-4
+    \override TextScript #'padding = #-4

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

+>>

 @end lilypond
 
 @end lilypond
 

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override Score.LyricText   #'font-style = #'large
-%\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c'' {
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+<<
+  \relative c'' {

     a1
     a1

-    \override TextScript   #'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
   }

-  \context Lyrics \lyrics {
+   \lyrics {

     "Melodic minor"
   }
     "Melodic minor"
   }

+>>

 @end lilypond
 
 @end lilypond
 

-@aitem{diminished interval}
-ES: intervalo disminu@'{@dotless{i}}do,
+@node diminished interval
+@section diminished interval
+
+ES: intervalo disminuido,

 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.
+S: förminskat intervall,
+FI: vähennetty intervalli.

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

-@aitem{diminuendo}
+@node diminuendo
+@section diminuendo
+

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


@@ -1361,30 +1760,39 @@ FI: diminuendo, hiljentyen.
 
 @aref{decrescendo}.
 
 
 @aref{decrescendo}.
 

-@aitem{disjunct movement}
+@node disjunct movement
+@section disjunct movement
+

 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.
+DK: springende bevægelse,
+S: hoppande rörelse,
+FI: melodian hyppivä liike.

 
 

-Progressing melodically by intervals larger than a major second.  
+Progressing melodically by intervals larger than a major second.

 Opposite of @aref{conjunct movement}.
 
 Opposite of @aref{conjunct movement}.
 

-@lilypond
+@lilypond[fragment,ragged-right]

 \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}
-ES: intervalo disonante, disonancias,
+@node dissonance
+@section dissonance
+
+@ref{dissonant interval}.
+
+@node dissonant interval
+@section dissonant interval
+
+ES: intervalo disonante, disonancia,

 I: intervallo dissonante, dissonanza,
 F: dissonance,
 D: Dissonanz,
 I: intervallo dissonante, dissonanza,
 F: dissonance,
 D: Dissonanz,


@@ -1395,10 +1803,13 @@ FI: dissonanssi, dissonoiva intervalli, riitasointi.
 
 @aref{harmony}.
 
 
 @aref{harmony}.
 

-@aitem{dominant ninth chord}
+@node dominant ninth chord
+@section dominant ninth chord
+
+ES: acorde de novena de dominante,

 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,


@@ -1406,10 +1817,12 @@ FI: dominanttinoonisointu.
 
 @aref{chord}, @aref{functional harmony}.
 
 
 @aref{chord}, @aref{functional harmony}.
 

-@aitem{dominant seventh chord}
-ES: acorde de s@'eptima de dominante,
+@node dominant seventh chord
+@section dominant seventh chord
+
+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,
 D: Dominantseptakkord,
 NL: dominant septiem akkoord,
 DK: dominantseptimakkord,


@@ -1418,7 +1831,9 @@ FI: dominanttiseptimisointu.
 
 @aref{chord}, @aref{functional harmony}.
 
 
 @aref{chord}, @aref{functional harmony}.
 

-@aitem{dominant}
+@node dominant
+@section dominant
+

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


@@ -1431,8 +1846,10 @@ 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,
+@node dorian mode
+@section dorian mode
+
+ES: modo dórico,

 I: modo dorico,
 F: mode dorien,
 D: dorisch, dorischer Kirchenton,
 I: modo dorico,
 F: mode dorien,
 D: dorisch, dorischer Kirchenton,


@@ -1443,11 +1860,13 @@ FI: doorinen moodi.
 
 @aref{diatonic scale}.
 
 
 @aref{diatonic scale}.
 

-@aitem{dot (augmentation dot)}
+@node dot (augmentation dot)
+@section dot (augmentation dot)
+

 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,


@@ -1455,10 +1874,12 @@ FI: piste.
 
 @aref{dotted note}.
 
 
 @aref{dotted note}.
 

-@aitem{dotted note}
+@node dotted note
+@section dotted note
+

 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,
 D: punktierte Note,
 NL: gepuncteerde noot,
 DK: punkteret node,


@@ -1467,7 +1888,9 @@ FI: pisteellinen nuotti.
 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{double appoggiatura}
+@node double appoggiatura
+@section double appoggiatura
+

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


@@ -1479,7 +1902,10 @@ FI: kaksoisappogiatura, kaksoisetuhele.
 
 @aref{appoggiatura}.
 
 
 @aref{appoggiatura}.
 

-@aitem{double bar line}
+@node double bar line
+@section double bar line
+
+ES: doble barra,

 I: doppia barra,
 F: double barre,
 D: Doppelstrich,
 I: doppia barra,
 F: double barre,
 D: Doppelstrich,


@@ -1490,10 +1916,12 @@ FI: kaksoistahtiviiva.
 
 Indicates the end of a section within a movement.
 
 
 Indicates the end of a section within a movement.
 

-@aitem{double dotted note}
-ES: nota con dos puntillos,
+@node double dotted note
+@section double dotted note
+
+ES: nota con doble puntillo,

 I: nota doppiamente puntata,
 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,
 D: doppelt punktierte Note,
 NL: dubbelgepuncteerde noot,
 DK: dob@-belt@-punk@-te@-ret node,


@@ -1502,10 +1930,12 @@ FI: kaksoispisteellinen nuotti.
 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{double flat}
+@node double flat
+@section double flat
+

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


@@ -1514,10 +1944,12 @@ FI: kaksoisalennusmerkki.
 
 @aref{accidental}.
 
 
 @aref{accidental}.
 

-@aitem{double sharp}
+@node double sharp
+@section double sharp
+

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


@@ -1526,7 +1958,9 @@ FI: kaksoisylennysmerkki.
 
 @aref{accidental}.
 
 
 @aref{accidental}.
 

-@aitem{double trill}
+@node double trill
+@section double trill
+

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


@@ -1538,19 +1972,23 @@ 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}
+@node duple meter
+@section duple meter
+

 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,
+S: tvåtakt,

 FI: kaksoistempo.
 
 @aref{meter}.
 
 FI: kaksoistempo.
 
 @aref{meter}.
 

-@aitem{duplet}
+@node duplet
+@section duplet
+

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


@@ -1562,22 +2000,28 @@ FI: duoli.
 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{duration}
-ES: duraci@'on,
+@node duration
+@section duration
+
+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,
+S: tonlängd,

 FI: kesto, aika-arvo.
 
 @aref{note value}.
 
 FI: kesto, aika-arvo.
 
 @aref{note value}.
 

-@aitem{dydimic comma}
+@node dydimic comma
+@section dydimic comma
+

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

-@aitem{E}
+@node E
+@section E
+

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


@@ -1587,7 +2031,14 @@ DK: e,
 S: e,
 FI: E, e.
 
 S: e,
 FI: E, e.
 

-@aitem{eighth note}
+@node ecclesiastical mode
+@section ecclesiastical mode
+
+@aref{church mode}.
+
+@node eighth note
+@section eighth note
+

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


@@ -1595,12 +2046,14 @@ UK: quaver,
 D: Achtel, Achtelnote,
 NL: achtste noot,
 DK: ottendedelsnode,
 D: Achtel, Achtelnote,
 NL: achtste noot,
 DK: ottendedelsnode,

-S: @aa{}ttondelsnot,
+S: åttondelsnot,

 FI: kahdeksasosanuotti.
 
 @aref{note value}.
 
 FI: kahdeksasosanuotti.
 
 @aref{note value}.
 

-@aitem{eighth rest}
+@node eighth rest
+@section eighth rest
+

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


@@ -1608,13 +2061,21 @@ UK: quaver rest,
 D: Achtelpause,
 NL: achtste rust,
 DK: ottendedelspause,
 D: Achtelpause,
 NL: achtste rust,
 DK: ottendedelspause,

-S: @aa{}ttonddelspaus,
+S: åttonddelspaus,

 FI: kahdeksasosatauko.
 
 @aref{note value}.
 
 FI: kahdeksasosatauko.
 
 @aref{note value}.
 

-@aitem{engraving}
-ES: Grabar
+@node embellishment
+@section embellishment
+
+
+@aref{ornament}.
+
+@node engraving
+@section engraving
+
+ES: grabar,

 I: incisione,
 F: gravure,
 D: Notenstechen, Notendruck
 I: incisione,
 F: gravure,
 D: Notenstechen, Notendruck


@@ -1630,8 +2091,10 @@ 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,
+@node enharmonic
+@section enharmonic
+
+ES: enarmónico,

 I: enarmonico,
 F: enharmonique,
 D: enharmonisch,
 I: enarmonico,
 F: enharmonique,
 D: enharmonisch,


@@ -1643,47 +2106,53 @@ 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]
+@lilypond[fragment,notime,line-width=13.0\cm]

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override Score.TextScript   #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
-  gis1 s s as s s <des g,!> s s <cis g!> s s
+<<
+\context Staff \relative c'' {
+  gis1  as <des g,!>  <cis g!> 

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

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

   "g sharp  " "a flat  " "dim fifth  " "augm fourth"
 }
   "g sharp  " "a flat  " "dim fifth  " "augm fourth"
 }

+>>

 @end lilypond
 
 @end lilypond
 

-@aitem{equal temperament}
-ES: ?,
+@node equal temperament
+@section equal temperament
+
+ES: temperamento igual,

 I: temperamento equabile,
 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,
+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}.
 
 FI: tasavireinen.
 
 Tuning system dividing the octave into 12 equal @aref{semitone}s
 (precisely 100 @aref{cent}s).  @aref{temperament}.
 

-@aitem{expression mark}
-ES: ?,
+@node expression mark
+@section expression mark
+
+ES: expresión,

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

-S: f@"oredragsbeteckning,
+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}).
 
 FI: nyanssiosoitus, esitysmerkki.
 
 Performance indications concerning 1. volume, dynamics (for example
 @aref{forte}, @aref{crescendo}), 2. tempo (for example
 @aref{andante}, @aref{allegro}).
 

-@aitem{F}
+@node F
+@section F
+

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


@@ -1693,13 +2162,15 @@ DK: f,
 S: f,
 FI: F, f.
 
 S: f,
 FI: F, f.
 

-@aitem{F clef}
-ES: Clave de Fa,
+@node F clef
+@section F clef
+
+ES: clave de fa,

 I: chiave di 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,
 FI: F-avain.
 
 S: f-klav,
 FI: F-avain.
 


@@ -1710,12 +2181,11 @@ 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]
+@lilypond[fragment,notime,line-width=13.0\cm]

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-\override Staff.Clef   #'full-size-change = ##t
-%\override Score.LyricText   #'font-style = #'large
-\addlyrics
-\notes\relative c {
+\override Staff.Clef #'full-size-change = ##t
+<<
+\relative c {

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


@@ -1727,38 +2197,42 @@ symbol indicates playing an octave lower (for example on double bass
   \clef "F_8"
   f1
 }
   \clef "F_8"
   f1
 }

-\context Lyrics \lyrics {
-  \override Lyrics .LyricText   #'self-alignment-X = #-1
+ \lyrics {

   "baritone  "
   "bass  "
   "sub-bass  "
   "octaved up  "
   "octaved down"
 }
   "baritone  "
   "bass  "
   "sub-bass  "
   "octaved up  "
   "octaved down"
 }

+>>

 @end lilypond
 
 @c F:  'point d'orgue' on a note, 'point d'arret' on a rest.
 
 @end lilypond
 
 @c F:  'point d'orgue' on a note, 'point d'arret' on a rest.
 

-@aitem{fermata}
-ES: Calder@'on,
+@node fermata
+@section fermata
+
+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.
+FI: fermaatti, pidäke.

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

-@lilypond
+@lilypond[fragment,ragged-right]

 \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}
+@node fifth
+@section fifth
+

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


@@ -1770,26 +2244,32 @@ FI: kvintti.
 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitem{figured bass}
-ES: bajo cifrado, @aref{thorough bass}.
+@node figured bass
+@section figured bass

 
 

-@aitem{fingering}
-ES: digitaci@'on,
+@aref{thorough bass}.
+
+@node fingering
+@section fingering
+
+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,
+DK: fingersætning,
+S: fingersättning,

 FI: sormitus.
 
 The methodical use of fingers in the playing of instruments.
 
 FI: sormitus.
 
 The methodical use of fingers in the playing of instruments.
 

-@aitemii{flag,pennant}
+@node flag
+@section flag
+

 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,


@@ -1799,10 +2279,10 @@ 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}.
 
 less than a quarter note.  The number of flags determines the
 @aref{note value}.
 

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override Score.TextScript   #'font-style = #'large
-\notes\relative c'' {
+%\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


@@ -1810,22 +2290,28 @@ less than a quarter note.  The number of flags determines the
 }
 @end lilypond
 
 }
 @end lilypond
 

-@aitem{flat}
+@node flat
+@section flat
+

 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,
+S: beförtecken,

 FI: alennusmerkki.
 
 @aref{accidental}.
 
 FI: alennusmerkki.
 
 @aref{accidental}.
 

-@aitemii{forefall,backfall}
+@node forefall
+@section forefall
+

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

-@aitem{forte}
+@node forte
+@section forte
+

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


@@ -1838,7 +2324,9 @@ 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}
+@node fourth
+@section fourth
+

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


@@ -1850,7 +2338,9 @@ FI: kvartti.
 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitem{fugue}
+@node fugue
+@section fugue
+

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


@@ -1862,34 +2352,38 @@ FI: fuuga.
 
 @aref{counterpoint}.
 
 
 @aref{counterpoint}.
 

-@aitem{functional harmony}
-ES: armon@'{@dotless{i}}a funcional,
+@node functional harmony
+@section functional harmony
+
+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.
+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]
+@lilypond[fragment,notime,line-width=13.0\cm]

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override Score.LyricText   #'font-style = #'large
-%\override Score.TextScript   #'font-style = #'large
-\addlyrics
-\context Voice \notes\relative c'' {
+<<
+\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 \markup{ D\translate #(cons -2 0) {"|"}  } }
+>>

 @end lilypond
 
 @end lilypond
 

-@aitem{G}
+@node G
+@section G
+

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


@@ -1899,13 +2393,15 @@ DK: g,
 S: g,
 FI: G, g.
 
 S: g,
 FI: G, g.
 

-@aitem{G clef}
-ES: Clave de sol,
+@node G clef
+@section G clef
+
+ES: clave de sol,

 I: chiave di 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,
 FI: G-avain.
 
 S: g-klav,
 FI: G-avain.
 


@@ -1915,31 +2411,35 @@ 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]
-\set Score.automaticBars = ##f
-\override Staff.Clef   #'full-size-change = ##t
-%\override Score.LyricText   #'font-style = #'large
-\addlyrics
-\notes\relative c'' {
-  \clef french
-  g1 s s
-  \clef treble
-  g s s
-  \clef "G^8"
-  g s s
-  \clef "G_8"
-  g s s
-}
-\context Lyrics \lyrics {
-  \override Lyrics .LyricText   #'self-alignment-X = #-1
-  "french violin clef  "
-  "violin clef  "
-  "octaved up  "
-  "octaved down"
-}
+@lilypond[fragment,notime,ragged-right]
+<<
+  \set Score.automaticBars = ##f
+  \override Staff.Clef #'full-size-change = ##t
+
+  \relative c'' {
+    \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
+    \clef french
+    g1
+    \clef treble
+    g
+    \clef "G^8"
+    g
+    \clef "G_8"
+    g
+  }
+  \context Lyrics \lyrics {
+    \override Lyrics . LyricText #'X-offset = #-5
+    "french violin clef"
+    "violin clef"
+    "octaved up"
+    "octaved down"
+  }
+>>

 @end lilypond
 
 @end lilypond
 

-@aitem{glissando}
+@node glissando
+@section glissando
+

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


@@ -1951,11 +2451,13 @@ 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}
-ES: ?,
+@node grace notes
+@section grace notes
+
+ES: notas de adorno,

 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,


@@ -1964,20 +2466,25 @@ 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}
+@node grand staff
+@section grand staff
+
+ES: sistema de piano,

 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,
+S: ackolad, böjd klammer,

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

-@aitem{grave}
+@node grave
+@section grave
+

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


@@ -1989,7 +2496,14 @@ FI: grave, raskaasti.
 
 Slow, solemn.
 
 
 Slow, solemn.
 

-@aitem{half note}
+@node gruppetto
+@section gruppetto
+
+@aref{turn}.
+
+@node half note
+@section half note
+

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


@@ -2002,8 +2516,10 @@ FI: puolinuotti.
 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{half rest}
-ES: ?,
+@node half rest
+@section half rest
+
+ES: silencio de blanca,

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


@@ -2015,8 +2531,10 @@ FI: puolitauko.
 
 @aref{note value}.
 
 
 @aref{note value}.
 

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

 I: cadenza (armonica),
 F: cadence harmonique,
 D: Schlusskadenz,
 I: cadenza (armonica),
 F: cadence harmonique,
 D: Schlusskadenz,


@@ -2025,11 +2543,11 @@ DK: harmonisk kadence,
 S: (harmonisk) kadens,
 FI: harmoninen kadenssi.
 
 S: (harmonisk) kadens,
 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,ragged-right]
+\context PianoStaff <<

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


@@ -2037,21 +2555,24 @@ 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
   }

-%  %\override Score.LyricText   #'font-style = #'large
-  \addlyrics
-  \context Staff = SB \relative c {
-    \clef bass
-    \partial 4 c4 | f, g c2
-    \bar "|."
-  }
-  \context Lyrics \lyrics {
-    T S D T
-  }
+  <<
+    \context Staff = SB \relative c {
+      \clef bass
+      \partial 4 c4 | f, g c2
+      \bar "|."
+    }
+    \lyrics {
+      T4 S D T
+    }
+  >>

 >>
 >>

+

 @end lilypond
 
 @end lilypond
 

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

 I: armonia,
 F: harmonie,
 D: Harmonie, Zusammenklang,
 I: armonia,
 F: harmonie,
 D: Harmonie, Zusammenklang,


@@ -2065,10 +2586,10 @@ Tones sounding simultaneously.  Two note harmonies fall into the categories
 
 Consonances:
 
 
 Consonances:
 

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override Score.TextScript   #'font-style = #'large
-\context Voice \notes\relative c'' {
+%\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


@@ -2081,10 +2602,10 @@ Consonances:
 
 Dissonances:
 
 
 Dissonances:
 

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override Score.TextScript   #'font-style = #'large
-\context Voice  \notes\relative c'' {
+%\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


@@ -2093,20 +2614,24 @@ Dissonances:
 
 Three note harmony @aref{chord}.
 
 
 Three note harmony @aref{chord}.
 

-@aitem{homophony}
-ES: homofon@'{@dotless{i}}a,
+@node homophony
+@section homophony
+
+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.
+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}
+@node interval
+@section interval
+

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


@@ -2114,115 +2639,120 @@ D: Intervall,
 NL: interval,
 DK: interval,
 S: intervall,
 NL: interval,
 DK: interval,
 S: intervall,

-FI: intervalli, kahden s@"avelen korkeusero.
+FI: intervalli, kahden sävelen korkeusero.

 
 

-Difference in pitch between two notes.  Intervals may be perfect, minor, major,
+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
 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.
+of such two intervals forms an octave.

 
 

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override Score.LyricText   #'font-style = #'large
-%\override Score.TextScript   #'font-style = #'large
-\addlyrics
-\context Voice \notes\relative c'' {
-  < g g >1 s
-  < g as >^"minor" s
-  < g a! > s
-  < g ais >^"augm" s
-  < gis bes >^"dimin" s
-  < g! bes >^"minor" s
-  < g b! >^"major" s
-  < g bis >^"augm" s
+<<
+\context Voice \relative c'' {
+  < g g >1 
+  < g as >^"minor" 
+  < g a! > 
+  < g ais >^"augm" 
+  < gis bes >^"dimin" 
+  < g! bes >^"minor" 
+  < g b! >^"major" 
+  < g bis >^"augm" 

 }
 \context Lyrics \lyrics {
 }
 \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]
+@lilypond[fragment,notime,line-width=13.0\cm]

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override Score.LyricText   #'font-style = #'large
-%\override Score.TextScript   #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
-  < g c >^"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 Staff \relative c'' {
+  < g c >1^"perfect" 
+  < g cis >^"augm" 
+  < g d' >^"perfect" 
+  < g des' > ^"dimin" 
+  < gis es' >^"dimin" 
+  < g! es' >^"minor" 
+  < g e'! >^"major" 
+  < g eis' >^"augm" 

 }
 }

-\context Lyrics \lyrics {
+ \lyrics {

   "fourth  " "fourth  " "fifth  " "fifth  "
   "fourth  " "fourth  " "fifth  " "fifth  "

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

 }
 }

+>>

 @end lilypond
 
 @end lilypond
 

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override Score.LyricText   #'font-style = #'large
-%\override Score.TextScript   #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
-  < gis f'! >1^"dimin"  s
-  < g! f'! >^"minor"  s
-  < g fis' >^"major"  s
-  < g g' > s
-  < g as' >^"minor"  s
-  < g a'! >^"major"  s
-  < g bes' >^"minor"  s
-  < g b'! >^"major"  s
+<<
+\context Staff \relative c'' {
+  < gis f'! >1^"dimin" 
+  < g! f'! >^"minor" 
+  < g fis' >^"major" 
+  < g g' > 
+  < g as' >^"minor" 
+  < g a'! >^"major" 
+  < g bes' >^"minor" 
+  < g b'! >^"major" 

 }
 \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}
+@node inverted interval
+@section inverted interval
+

 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.
+S: intervallets omvändning,
+FI: käänteisintervalli.

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

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override Score.TextScript   #'font-style = #'large
-\context Staff \notes\relative c'' {
-  < g  a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
+%\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}
+@node just intonation
+@section just intonation
+
+ES: entonación justa,

 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,
+S: ren stämning,

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

-@aitem{key}
+@node key
+@section key
+

 ES: tonalidad,
 ES: tonalidad,

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

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


@@ -2233,20 +2763,24 @@ 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}.
 
 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
 @aref{key signature}.
 

-@aitem{key signature}
-ES: armadura de clave,
+@node key signature
+@section key signature
+
+ES: armadura (de la clave),

 I: armatura di chiave,
 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.
+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}
+@node largo
+@section largo
+

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


@@ -2254,12 +2788,14 @@ D: Largo, Langsam, Breit,
 NL: largo,
 DK: largo,
 S: largo,
 NL: largo,
 DK: largo,
 S: largo,

-FI: largo, hitaasti, leve@"asti.
+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}
+@node leading note
+@section leading note
+

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


@@ -2267,68 +2803,81 @@ D: Leitton,
 NL: leidtoon,
 DK: ledetone,
 S: ledton,
 NL: leidtoon,
 DK: ledetone,
 S: ledton,

-FI: johtos@"avel.
+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,
+@node ledger line
+@section ledger line
+
+ES: línea adicional,

 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,
+DK: hjælpelinie,
+S: hjälplinje,

 FI: apuviiva.
 
 A ledger line is an extension of the staff.
 
 FI: apuviiva.
 
 A ledger line is an extension of the staff.
 

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-\notes\relative c'' { a,1 s c'' }
+\relative c'' { a,1 s c'' }

 @end lilypond
 
 @end lilypond
 

-@aitem{legato}
-ES: ligado,
+@node legato
+@section legato
+
+ES: legato,

 I: legato,
 I: legato,

-F: legato, li@'e,
+F: legato, lié,

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

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

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-\addlyrics
-\context Staff \notes\relative c'' {
-  c4-( d e-) \bar "||"
-  c4-- d-- e-- \bar "||"
-  c4-.-( d-. e-.-) \bar "||"
-  c4-. d-. e-. \bar "||"
-}
-\context Lyrics \lyrics {
-%  \override Lyrics .LyricText   #'font-style = #'large
-  a
-  b "" ""
-  c
-  d
-}
+<<
+  \context Staff \relative c'' {
+    c4-( d e-) \bar "||"
+    c4-- d-- e-- \bar "||"
+    c4-.-( d-. e-.-) \bar "||"
+    c4-. d-. e-. \bar "||"
+  }
+  \lyrics {
+    a1
+    b
+    c
+    d
+  }
+>>

 @end lilypond
 
 @end lilypond
 

-@aitem{legato curve}
+@node legato curve
+@section legato curve
+

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

-@aitem{lilypond}
-ES: estanque de lilas,
+@node leger line
+@section leger line
+
+@aref{ledger line}.
+
+@node lilypond
+@section lilypond
+
+ES: estanque de nenúfares,

 I: stagno del giglio,
 I: stagno del giglio,

-F: @'etang de lis,
+F: étang de lis,

 UK: lily pond,
 D: Seerosenteich,
 NL: le@-lie@-vij@-ver,
 UK: lily pond,
 D: Seerosenteich,
 NL: le@-lie@-vij@-ver,


@@ -2338,7 +2887,10 @@ 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{ligature}
+@node ligature
+@section ligature
+
+ES: ligadura

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


@@ -2349,10 +2901,10 @@ 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.
 
 With the invention of the metric system of the white mensural
 notation, the need for ligatures to denote such patterns disappeared.
 

+@node line
+@section line

 
 

-
-@aitem{line}
-ES: l@'{@dotless{i}}nea,
+ES: línea,

 I: linea,
 F: ligne,
 D: Linie, Notenlinie,
 I: linea,
 F: ligne,
 D: Linie, Notenlinie,


@@ -2363,19 +2915,23 @@ FI: viiva, nuottiviiva.
 
 @aref{staff}.
 
 
 @aref{staff}.
 

-@aitem{long appoggiatura}
+@node long appoggiatura
+@section long appoggiatura
+

 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.
+S: långt förslag,
+FI: pitkä appoggiatura, pitkä etuhele.

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

-@aitem{longa}
+@node longa
+@section longa
+

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


@@ -2388,29 +2944,33 @@ FI: longa.
 Note value: double length of @aref{breve}.
 @aref{note value}.
 
 Note value: double length of @aref{breve}.
 @aref{note value}.
 

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-\notes\relative c'' {
-  \override NoteHead   #'style = #'mensural
+\relative c'' {
+  \override NoteHead #'style = #'mensural

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

-@aitemii{lyrics,song texts}
-ES: .,
+@node lyrics
+@section lyrics
+
+ES: letra (de la canción),

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

-D: .,
+D: Liedtext,

 NL: liedtekst,
 DK: .,
 S: .,
 FI, sanoitus.
 
 NL: liedtekst,
 DK: .,
 S: .,
 FI, sanoitus.
 

-@aitem{major interval}
+@node major interval
+@section major interval
+

 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,


@@ -2418,7 +2978,9 @@ FI: suuri intervalli.
 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitem{major}
+@node major
+@section major
+

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


@@ -2430,22 +2992,27 @@ FI: duuri.
 
 @aref{diatonic scale}.
 
 
 @aref{diatonic scale}.
 

-@aitem{meantone temperament}
+@node meantone temperament
+@section meantone temperament
+
+ES: afinación mesotónica,

 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.
+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.
 

-@aitemii{measure,bar}
-ES: comp@'as,
+@node measure
+@section measure
+
+ES: compás,

 I: misura, battuta,
 F: mesure,
 D: Takt,
 I: misura, battuta,
 F: mesure,
 D: Takt,


@@ -2459,37 +3026,45 @@ 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}.
 
 throughout the composition and are marked from each other by
 bar-lines.  @aref{meter}.
 

-@aitem{mediant}
+@node mediant
+@section mediant
+

 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.
+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}
+@node melisma
+@section melisma

 
 

-NL: melisma, 
-FI: melisma, laulettavan tavun s@"avelkuvio.
+ES: melisma,
+NL: melisma,
+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}
+@node melodic cadence
+@section melodic cadence
+

 @aref{cadenza}.
 
 @aref{cadenza}.
 

-@aitemii{meter,time}
-ES: comp@'as,
+@node meter
+@section meter
+
+ES: compás,

 I: tempo, metro,
 I: tempo, metro,

-F: indication de m@'esure,
+F: indication de mésure,

 D: Taktart, Metrum,
 NL: maatsoort,
 DK: taktart,
 D: Taktart, Metrum,
 NL: maatsoort,
 DK: taktart,


@@ -2501,37 +3076,39 @@ The basic scheme of @aref{note value}s and
 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
 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,line-width=13.0\cm]
+\relative c'' {

   \time 3/4
   \key f \major
   c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
 @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,line-width=13.0\cm]
+\relative c' {

   \time 6/8
   \key f \major
   f8 f f f a16 g a f |
   c'8 c c c e16 d e c \bar "||"}
 @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,line-width=13.0\cm]
+\relative c'' {

   \time 5/4
   \key g \major
   d4 b8 g b d d c a4 |
   g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
 @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,
+@node metronome
+@section metronome
+
+ES: metrónomo,

 I: metronomo,
 I: metronomo,

-F: m@'etronome,
+F: métronome,

 D: Metronom,
 NL: metronoom,
 DK: me@-tro@-nom,
 D: Metronom,
 NL: metronoom,
 DK: me@-tro@-nom,


@@ -2541,10 +3118,12 @@ 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,
+@node metronomic indication
+@section metronomic indication
+
+ES: indicación metronómica,

 I: indicazione metronomica,
 I: indicazione metronomica,

-F: indication m@'etronomique,
+F: indication métronomique,

 D: Metronomangabe,
 NL: metronoom aanduiding,
 DK: metronomtal,
 D: Metronomangabe,
 NL: metronoom aanduiding,
 DK: metronomtal,


@@ -2552,10 +3131,12 @@ S: metronomangivelse,
 FI: metronomiosoitus.
 
 Exact tempo indication (in beats per minute).  Also denoted by
 FI: metronomiosoitus.
 
 Exact tempo indication (in beats per minute).  Also denoted by

-M.M. (M@"alzels Metronom).
+M.M.@: (Mälzels Metronom).

 
 

-@aitem{mezzo-soprano}
-ES: mezzo soprano,
+@node mezzo-soprano
+@section mezzo-soprano
+
+ES: mezzosoprano,

 I: mezzo-soprano,
 F: mezzo-soprano,
 D: Mezzosopran,
 I: mezzo-soprano,
 F: mezzo-soprano,
 D: Mezzosopran,


@@ -2567,7 +3148,9 @@ FI: mezzosopraano.
 The female voice between @aref{soprano} and
 @aref{contralto}.
 
 The female voice between @aref{soprano} and
 @aref{contralto}.
 

-@aitem{middle C}
+@node middle C
+@section middle C
+

 ES: do central,
 I: do centrale,
 F: do central,
 ES: do central,
 I: do centrale,
 F: do central,


@@ -2579,17 +3162,19 @@ FI: keski-C.
 
 First C below the 440 Hz A.
 
 
 First C below the 440 Hz A.
 

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-\override Staff.Clef   #'full-size-change = ##t
-\notes\relative c' {
+\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}
+@node minor
+@section minor
+

 ES: menor,
 I: minore,
 F: mode mineur,
 ES: menor,
 I: minore,
 F: mode mineur,


@@ -2601,8 +3186,10 @@ FI: molli.
 
 @aref{diatonic scale}.
 
 
 @aref{diatonic scale}.
 

-@aitem{minor interval}
-ES: intervalo mayor,
+@node minor interval
+@section minor interval
+
+ES: intervalo menor,

 I: intervallo minore,
 F: intervalle mineur,
 D: kleines Intervall,
 I: intervallo minore,
 F: intervalle mineur,
 D: kleines Intervall,


@@ -2613,7 +3200,9 @@ FI: pieni intervalli.
 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitem{mode}
+@node mode
+@section mode
+

 ES: modo,
 I: modo,
 F: mode,
 ES: modo,
 I: modo,
 F: mode,


@@ -2621,26 +3210,30 @@ D: Modus,
 NL: modus,
 DK: skala,
 S: modus, skala,
 NL: modus,
 DK: skala,
 S: modus, skala,

-FI: moodi, kirkkos@"avelasteikko.
+FI: moodi, kirkkosävelasteikko.

 
 @aref{church mode}, @aref{diatonic scale}.
 
 
 @aref{church mode}, @aref{diatonic scale}.
 

-@aitem{modulation}
-ES: modulaci@'on,
+@node modulation
+@section modulation
+
+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.
+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}
+@node mordent
+@section mordent
+

 I: mordente,
 F: mordant,
 D: Mordent,
 I: mordente,
 F: mordant,
 D: Mordent,


@@ -2651,23 +3244,30 @@ FI: mordent, korukuvio.
 
 @aref{ornament}.
 
 
 @aref{ornament}.
 

-@aitemii{motive,motif}
-ES: tema,
+@node motif
+@section motif
+
+@aref{motive}.
+
+@node motive
+@section motive
+
+ES: motivo,

 I: inciso,
 F: incise,
 D: Motiv,
 NL: motief,
 DK: motiv,
 S: motiv,
 I: inciso,
 F: incise,
 D: Motiv,
 NL: motief,
 DK: motiv,
 S: motiv,

-FI: teema, s@"avelaihe.
+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
-\set Score.TimeSignature = \turnOff
+@lilypond[fragment,line-width=13.0\cm]
+\override Score.TimeSignature #'break-visibility = #all-invisible

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

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

   \time 4/4
   \key g \major
   \partial 8 g16_"------" fis |
   \time 4/4
   \key g \major
   \partial 8 g16_"------" fis |


@@ -2676,7 +3276,9 @@ subject.
 }
 @end lilypond
 
 }
 @end lilypond
 

-@aitem{movement}
+@node movement
+@section movement
+

 ES: movimiento,
 I: movimento,
 F: mouvement,
 ES: movimiento,
 I: movimento,
 F: mouvement,


@@ -2690,7 +3292,9 @@ Greater musical works like @aref{symphony} and
 @aref{sonata} most often consist of several -- more or less --
 independant pieces called movements.
 
 @aref{sonata} most often consist of several -- more or less --
 independant pieces called movements.
 

-@aitem{multibar rest}
+@node multibar rest
+@section multibar rest
+

 ES: compases de espera,
 I: pausa multipla,
 F: pause multiple,
 ES: compases de espera,
 I: pausa multipla,
 F: pause multiple,


@@ -2700,36 +3304,44 @@ DK: flertaktspause,
 S: flertaktspaus,
 FI: usean tahdin mittainen tauko.
 
 S: flertaktspaus,
 FI: usean tahdin mittainen tauko.
 

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

   a1
   \set Score.skipBars = ##t R1*3
   a1
 }
 @end lilypond
 
   a1
   \set Score.skipBars = ##t R1*3
   a1
 }
 @end lilypond
 

-@aitem{mixolydian mode}
+@node mixolydian mode
+@section mixolydian mode
+

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

-@aitem{natural sign}
+@node natural sign
+@section natural sign
+

 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,
+DK: op@-løsningstegn,
+S: återställningstecken,

 FI: palautusmerkki.
 
 @aref{accidental}.
 
 FI: palautusmerkki.
 
 @aref{accidental}.
 

-@aitem{neighbour tones}
+@node neighbour tones
+@section neighbour tones
+

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

-@aitem{ninth}
+@node ninth
+@section ninth
+

 ES: novena,
 I: nona,
 ES: novena,
 I: nona,

-F: neuvi@`eme,
+F: neuvième,

 D: None,
 NL: noon,
 DK: none,
 D: None,
 NL: noon,
 DK: none,


@@ -2738,10 +3350,14 @@ FI: nooni.
 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitem{non-legato}
+@node non-legato
+@section non-legato
+

 @aref{legato}.
 
 @aref{legato}.
 

-@aitem{note}
+@node note
+@section note
+

 ES: nota,
 I: nota,
 F: note,
 ES: nota,
 I: nota,
 F: note,


@@ -2757,53 +3373,58 @@ 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}
-ES: oval,
+@node note head
+@section note head
+
+ES: cabeza,

 I: testa, testina, capocchia,
 F: t@^ete de la note,
 D: Notenkopf,
 NL: nootballetje,
 DK: nodehovede,
 S: nothuvud,
 I: testa, testina, capocchia,
 F: t@^ete de la note,
 D: Notenkopf,
 NL: nootballetje,
 DK: nodehovede,
 S: nothuvud,

-FI: nuotin p@"a@"a.
+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}
-ES: valor,
+@node note value
+@section note value
+
+ES: valor (duración),

 I: valore, durata,
 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,
+DK nodeværdi,
+S: notvärde,

 FI: nuotin aika-arvo.
 
 Note values (durations) are measured as fractions, normally 1/2, of the next
 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},
-but sometimes (mostly in pre baroque music) the double length note value
+higher note value.  The longest duration normally used is called
+@emph{brevis},
+but sometimes (mostly in pre-baroque music) the double length note value

 @emph{longa} is used.
 
 @emph{longa} is used.
 

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-\notes\relative c'' {
-  \override NoteHead   #'style = #'mensural
-  g\longa_"longa" g\breve_"breve"
+\relative c'' {
+  \override NoteHead #'style = #'mensural
+  a\longa_"longa" a\breve_"breve"

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

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


@@ -2812,9 +3433,9 @@ 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
-%\override Score.TextScript   #'font-style = #'large
-\notes\relative c'' {
+@lilypond[fragment,line-width=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 "||" }


@@ -2825,17 +3446,17 @@ 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
-%\override Score.TextScript   #'font-style = #'large
-\notes\relative c'' {
+@lilypond[fragment,line-width=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,line-width=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 "||"


@@ -2844,10 +3465,14 @@ dotted notes are also frequently used.
 }
 @end lilypond
 
 }
 @end lilypond
 

-@aitem{octave sign}
+@node octave sign
+@section octave sign
+

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

-@aitem{octave}
+@node octave
+@section octave
+

 ES: octava,
 I: ottava,
 F: octave,
 ES: octava,
 I: ottava,
 F: octave,


@@ -2859,10 +3484,12 @@ FI: oktaavi.
 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitemiii{ornament,embellishment,accessory}
+@node ornament
+@section ornament
+

 ES: adorno,
 I: abbellimento, fioriture,
 ES: adorno,
 I: abbellimento, fioriture,

-F: agr@'ement, ornement,
+F: agrément, ornement,

 D: Verzierung, Ornament,
 NL: versiering,
 DK: forsiring,
 D: Verzierung, Ornament,
 NL: versiering,
 DK: forsiring,


@@ -2875,38 +3502,39 @@ 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,line-width=13.0\cm]

 <<
   \context Staff = sa {
 <<
   \context Staff = sa {

-%        \override Score.TextScript   #'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,line-width=13.0\cm]

 <<
   \context Staff = sa {
 <<
   \context Staff = sa {

-%        \override Score.TextScript   #'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
   }
 >>


@@ -2914,7 +3542,9 @@ Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the
 
 @aref{appoggiatura}.
 
 
 @aref{appoggiatura}.
 

-@aitem{ossia}
+@node ossia
+@section ossia
+

 ES: ossia,
 I: ossia,
 F: ossia,
 ES: ossia,
 I: ossia,
 F: ossia,


@@ -2928,29 +3558,38 @@ 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.
 
 score, usually only a few measures long, which presents another version
 of the music, for example for small hands.
 

-@aitem{part}
+@node part
+@section part
+

 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,
+S: stämma,

 FI: stemma, instrumenttiosuus.
 
 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,
+@node pennant
+@section pennant
+
+@aref{flag}.
+
+@node percussion
+@section percussion
+
+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.
+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


@@ -2958,7 +3597,9 @@ 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}
+@node perfect interval
+@section perfect interval
+

 ES: intervalo justo,
 I: intervallo giusto,
 F: intervalle juste,
 ES: intervalo justo,
 I: intervallo giusto,
 F: intervalle juste,


@@ -2970,7 +3611,9 @@ FI: puhdas intervalli.
 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitem{phrase}
+@node phrase
+@section phrase
+

 ES: frase,
 I: frase,
 F: phrase,
 ES: frase,
 I: frase,
 F: phrase,


@@ -2982,20 +3625,24 @@ 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}
+@node phrasing
+@section phrasing
+

 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.
+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}
+@node piano
+@section piano
+

 ES: piano,
 I: piano,
 F: piano,
 ES: piano,
 I: piano,
 F: piano,


@@ -3008,17 +3655,21 @@ 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}
+@node pitch
+@section pitch
+

 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.
+DK: tonehøjde,
+S: tonhöjd,
+FI: sävelkorkeus.
+
+@node pizzicato
+@section pizzicato

 
 

-@aitem{pizzicato}

 ES: pizzicato,
 I: pizzicato,
 F: pizzicato,
 ES: pizzicato,
 I: pizzicato,
 F: pizzicato,


@@ -3026,27 +3677,33 @@ D: pizzicato,
 NL: pizzicato, getokkeld,
 DK: pizzicato,
 S: pizzicato,
 NL: pizzicato, getokkeld,
 DK: pizzicato,
 S: pizzicato,

-FI: pizzicato, n@"app@"aillen.
+FI: pizzicato, näppäillen.

 
 Play by plucking the strings.
 
 
 Play by plucking the strings.
 

-@aitem{polyphony}
-ES: polifon@'{@dotless{i}}a,
+@node polyphony
+@section polyphony
+
+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.
+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}
+@node portato
+@section portato
+

 @aref{legato}.
 
 @aref{legato}.
 

-@aitem{presto}
+@node presto
+@section presto
+

 ES: presto,
 I: presto,
 F: presto,
 ES: presto,
 I: presto,
 F: presto,


@@ -3056,16 +3713,18 @@ DK: presto,
 S: presto,
 FI: presto, hyvin nopeasti.
 
 S: presto,
 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,
+@node Pythagorean comma
+@section Pythagorean comma
+
+ES: coma pitagórica,

 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,
 FI: pytagorinen komma.
 
 S: pytagoreiskt komma,
 FI: pytagorinen komma.
 


@@ -3075,7 +3734,9 @@ but this@w{ }C, obtained by adding 12@w{ }fifths, is
 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}
+@node quadruplet
+@section quadruplet
+

 ES: cuatrillo,
 I: quartina,
 F: quartolet,
 ES: cuatrillo,
 I: quartina,
 F: quartolet,


@@ -3087,7 +3748,9 @@ FI: kvartoli.
 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{quarter note}
+@node quarter note
+@section quarter note
+

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


@@ -3095,12 +3758,14 @@ UK: crotchet,
 D: Viertel, Viertelnote,
 NL: kwartnoot,
 DK: fjerdedelsnode,
 D: Viertel, Viertelnote,
 NL: kwartnoot,
 DK: fjerdedelsnode,

-S: fj@"ardedelsnot,
-FI: nelj@"annesosanuotti.
+S: fjärdedelsnot,
+FI: neljännesosanuotti.

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

-@aitem{quarter rest}
+@node quarter rest
+@section quarter rest
+

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


@@ -3108,13 +3773,15 @@ 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.
+S: fjärdedelspaus,
+FI: neljännesosatauko.

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

-@aitem{quintuplet}
-ES: quintillo,
+@node quintuplet
+@section quintuplet
+
+ES: cinquillo,

 I: quintina,
 F: quintolet,
 D: Quintole,
 I: quintina,
 F: quintolet,
 D: Quintole,


@@ -3125,7 +3792,9 @@ FI: kvintoli.
 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{rallentando}
+@node rallentando
+@section rallentando
+

 ES: rallentando,
 I: rallentando,
 F: rallentando,
 ES: rallentando,
 I: rallentando,
 F: rallentando,


@@ -3133,44 +3802,48 @@ D: rallentando, langsamer werden,
 NL: rallentando,
 DK: rallentando,
 S: rallentando,
 NL: rallentando,
 DK: rallentando,
 S: rallentando,

-FI. rallerdando, hidastuen.
+FI: rallerdando, hidastuen.

 
 Abbreviation "rall.".  @aref{ritardando}.
 
 
 Abbreviation "rall.".  @aref{ritardando}.
 

-@aitem{relative key}
-ES: relativa,
-I: tonalit@`a relativa,
-F: tonalit@'e relative,
+@node relative key
+@section relative key
+
+ES: relativo,
+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.
+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]
+@lilypond[fragment,notime,line-width=13.0\cm]

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override Score.TextScript   #'font-style = #'large
-\notes\relative c' {
+%\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,
+@node repeat
+@section repeat
+
+ES: repetición,

 I: ritornello,
 F: barre de reprise,
 D: Wiederholung,
 I: ritornello,
 F: barre de reprise,
 D: Wiederholung,


@@ -3179,10 +3852,10 @@ DK: gen@-ta@-gel@-se,
 S: repris,
 FI: toisto.
 
 S: repris,
 FI: toisto.
 

-@lilypond
+@lilypond[fragment,line-width=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


@@ -3190,7 +3863,9 @@ FI: toisto.
 @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}
+@node rest
+@section rest
+

 ES: silencio,
 I: pausa,
 F: silence,
 ES: silencio,
 I: pausa,
 F: silence,


@@ -3202,7 +3877,9 @@ FI: tauko.
 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{rhythm}
+@node rhythm
+@section rhythm
+

 ES: ritmo,
 I: ritmo,
 F: rythme,
 ES: ritmo,
 I: ritmo,
 F: rythme,


@@ -3215,25 +3892,29 @@ 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}
-ES: retardando,
+@node ritardando
+@section ritardando
+
+ES: ritardando,

 I: ritardando,
 F: ritardando,
 D: Ritardando, langsamer werden,
 NL: ritardando,
 DK: ritardando,
 S: ritardando,
 I: ritardando,
 F: ritardando,
 D: Ritardando, langsamer werden,
 NL: ritardando,
 DK: ritardando,
 S: ritardando,

-FI. ritardando, hidastuen,
+FI: ritardando, hidastuen,
+
+Gradually slackening in speed.  Mostly abbreviated to rit.@: or ritard.

 
 

-Gradually slackening in speed.  Mostly abbreviated to rit. or ritard.
+@node ritenuto
+@section ritenuto

 
 

-@aitem{ritenuto}

 ES: ritenuto,
 I: ritenuto,
 F: ritenuto,
 ES: ritenuto,
 I: ritenuto,
 F: ritenuto,


@@ -3245,7 +3926,9 @@ FI: ritenuto, hidastaen.
 
 Immediate reduction of speed.
 
 
 Immediate reduction of speed.
 

-@aitem{scale}
+@node scale
+@section scale
+

 ES: escala,
 I: scala,
 F: gamme,
 ES: escala,
 I: scala,
 F: gamme,


@@ -3253,41 +3936,44 @@ D: Tonleiter,
 NL: toonladder,
 DK: Skala,
 S: skala,
 NL: toonladder,
 DK: Skala,
 S: skala,

-FI: asteikko, s@"avelasteikko.
+FI: asteikko, sävelasteikko.

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

-@aitem{scale degree}
-ES: grados de la escala,
+@node scale degree
+@section scale degree
+
+ES: grado (de la escala),

 I: grado della scala,
 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.
+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]
+@lilypond[fragment,notime,line-width=13.0\cm]

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override Score.LyricText   #'font-style = #'large
-%\set minVerticalAlign = #8
-\addlyrics
-\context Staff \notes\relative c' {
+<<
+\context Staff \relative c' {

   c1 d e f g a b c
 }
   c1 d e f g a b c
 }

-\context Lyrics \lyrics {
+ \lyrics {

   << { I II III IV V VI VII I }
   << { 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}
+@node score
+@section score
+

 ES: partitura,
 I: partitura,
 F: partition,
 ES: partitura,
 I: partitura,
 F: partition,


@@ -3301,11 +3987,13 @@ 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}
+@node second
+@section second
+

 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,


@@ -3316,7 +4004,9 @@ The @aref{interval} between two neigbouring tones of a scale.  A
 @aref{semitone}s and @aref{whole tone}s, hence the size
 of a se@-cond depends on the scale degrees in question.
 
 @aref{semitone}s and @aref{whole tone}s, hence the size
 of a se@-cond depends on the scale degrees in question.
 

-@aitem{semitone}
+@node semitone
+@section semitone
+

 ES: semitono,
 I: semitono,
 F: demi-ton,
 ES: semitono,
 I: semitono,
 F: demi-ton,


@@ -3324,7 +4014,7 @@ D: Halbton,
 NL: halve toon,
 DK: halvtone,
 S: halvton,
 NL: halve toon,
 DK: halvtone,
 S: halvton,

-FI: puolis@"avel.
+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


@@ -3332,15 +4022,17 @@ 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]
+@lilypond[fragment,notime,line-width=13.0\cm]

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-\notes\relative c'' { g1 gis s a bes s b! c }
+\relative c'' { g1 gis s a bes s b! c }

 @end lilypond
 
 @end lilypond
 

-@aitem{seventh}
-ES: s@'eptima,
+@node seventh
+@section seventh
+
+ES: séptima,

 I: settima,
 I: settima,

-F: septi@`eme,
+F: septième,

 D: Septime,
 NL: septiem,
 DK: septim,
 D: Septime,
 NL: septiem,
 DK: septim,


@@ -3349,7 +4041,15 @@ FI: septimi.
 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitem{sextuplet, sextolet}
+@node sextolet
+@section sextolet
+
+@aref{sextuplet}
+
+@node sextuplet
+@section sextuplet
+
+ES: seisillo,

 I: sestina,
 F: sextolet,
 D: Sextole,
 I: sestina,
 F: sextolet,
 D: Sextole,


@@ -3360,22 +4060,33 @@ FI: sekstoli.
 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{sharp}
+@node shake
+@section shake
+
+@aref{trill}.
+
+@node sharp
+@section sharp
+

 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,
+S: kors@-förtecken,

 FI: korotusmerkki.
 
 @aref{accidental}.
 
 FI: korotusmerkki.
 
 @aref{accidental}.
 

-@aitem{short appoggiatura}
+@node short appoggiatura
+@section short appoggiatura
+

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

-@aitem{sixteenth note}
+@node sixteenth note
+@section sixteenth note
+

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


@@ -3388,8 +4099,10 @@ FI: kuudestoistaosanuotti.
 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{sixteenth rest}
-ES: silencia de semicorchea,
+@node sixteenth rest
+@section sixteenth rest
+
+ES: silencio de semicorchea,

 I: pausa di semicroma,
 F: quart de soupir,
 UK: semiquaver rest,
 I: pausa di semicroma,
 F: quart de soupir,
 UK: semiquaver rest,


@@ -3401,7 +4114,9 @@ FI: kuudesosatauko.
 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{sixth}
+@node sixth
+@section sixth
+

 ES: sexta,
 I: sesta,
 F: sixte,
 ES: sexta,
 I: sesta,
 F: sixte,


@@ -3413,7 +4128,9 @@ FI: seksti.
 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitem{sixty-fourth note}
+@node sixty-fourth note
+@section sixty-fourth note
+

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


@@ -3421,39 +4138,46 @@ 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.
+S: sextiofjärdedelsnot,
+FI: kuudeskymmenesneljäsosanuotti.

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

-@aitem{sixty-fourth rest}
-ES: silencia de semifusa,
+@node sixty-fourth rest
+@section sixty-fourth rest
+
+ES: silencio de semifusa,

 I: pausa di semibiscroma,
 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.
+S: sextiofjärdedelspaus,
+FI: kuudeskymmenesneljäsosatauko.

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

-@aitem{slur}
-ES: ligadura,
+@node slur
+@section slur
+
+ES: ligadura (de expresión),

 I: legatura (di portamento or espressiva),
 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,
+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.
 
 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.
 

-@aitem{solmization}
+@node solmization
+@section solmization
+
+ES: solmisación,

 I: solmisazione,
 F: solmisation,
 D: Solmisation,
 I: solmisazione,
 F: solmisation,
 D: Solmisation,


@@ -3467,7 +4191,9 @@ General term for systems of designating the degrees of the
 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
 (@emph{ti})).  @aref{scale degree}.
 
 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
 (@emph{ti})).  @aref{scale degree}.
 

-@aitem{sonata}
+@node sonata
+@section sonata
+

 ES: sonata,
 I: sonata,
 F: sonate,
 ES: sonata,
 I: sonata,
 F: sonate,


@@ -3481,7 +4207,9 @@ 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.
 
 piano or for some other instrument with piano accompaniment, which consists of
 three or four independant pieces, called movements.
 

-@aitem{sonata form}
+@node sonata form
+@section sonata form
+

 ES: forma sonata,
 I: forma sonata,
 F: [en] forme de sonate,
 ES: forma sonata,
 I: forma sonata,
 F: [en] forme de sonate,


@@ -3494,18 +4222,24 @@ 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}.
+
+@node song texts
+@section song texts
+
+@aref{lyrics}.
+
+@node soprano
+@section soprano
+

 ES: soprano,
 I: soprano,
 F: soprano,
 ES: soprano,
 I: soprano,
 F: soprano,


@@ -3513,49 +4247,60 @@ D: Sopran,
 NL: sopraan,
 DK: sopran,
 S: sopran,
 NL: sopraan,
 DK: sopran,
 S: sopran,

-FI: sopraano, korkea nais@"a@"ani.
+FI: sopraano, korkea naisääni.

 
 The highest female voice.
 
 
 The highest female voice.
 

-@aitem{staccato}
-ES: staccato,
+@node staccato
+@section staccato
+
+ES: picado,

 I: 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.
+FI: staccato, lyhyesti, terävästi.

 
 Playing the note(s) short.  Staccato is indicated by a dot above or below the
 note head.
 
 
 Playing the note(s) short.  Staccato is indicated by a dot above or below the
 note head.
 

-@lilypond
+@lilypond[fragment,ragged-right]

 \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
 

-@aitemii{staff,pl. staves}
+@node staff
+@section staff
+

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

-A series of (normally@w{ }5) horizontal lines upon and between
-which the musical notes are written, thus indicating (in connection
-with a @aref{clef}) their pitch.  Staves for
+A staff (pl. staves) is a series of (normally five) horizontal lines
+upon and between which the musical notes are written, thus indicating
+(in connection with a @aref{clef}) their pitch.  Staves for

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

-@aitem{stem}
+@node staves
+@section staves
+
+@aref{staff}.
+
+@node stem
+@section stem
+

 ES: plica,
 I: gamba,
 F: queue,
 ES: plica,
 I: gamba,
 F: queue,


@@ -3568,11 +4313,11 @@ 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]
+@lilypond[fragment,notime,line-width=13.0\cm]

 \set Score.autoBeaming = ##f
 \set Score.automaticBars = ##f
 \set Score.autoBeaming = ##f
 \set Score.automaticBars = ##f

-%\override Score.TextScript   #'font-style = #'large
-\notes\relative c'' {
+%\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


@@ -3580,20 +4325,24 @@ whole note.  @aref{beam}.
 }
 @end lilypond
 
 }
 @end lilypond
 

-@aitem{strings}
+@node strings
+@section strings
+

 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,
+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.
 
 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.
 

-@aitem{strong beat}
+@node strong beat
+@section strong beat
+

 ES: tiempo fuerte,
 I: tempo forte,
 F: temps fort,
 ES: tiempo fuerte,
 I: tempo forte,
 F: temps fort,


@@ -3606,7 +4355,9 @@ FI: tahdin vahva isku.
 @aref{beat}, @aref{accent}, @aref{measure},
 @aref{rhythm}.
 
 @aref{beat}, @aref{accent}, @aref{measure},
 @aref{rhythm}.
 

-@aitem{subdominant}
+@node subdominant
+@section subdominant
+

 ES: subdominante,
 I: sottodominante,
 F: sous-dominante,
 ES: subdominante,
 I: sottodominante,
 F: sous-dominante,


@@ -3616,23 +4367,26 @@ DK: subdominant,
 S: subdominant,
 FI: subdominantti, alidominantti.
 
 S: subdominant,
 FI: subdominantti, alidominantti.
 

-The fourth @aref{scale degree}.  @aref{functional
-harmony}.
+The fourth @aref{scale degree}.  @aref{functional harmony}.

 
 

-@aitem{submediant}
-ES: superdominante,
+@node submediant
+@section submediant
+
+ES: submediante,

 I: sopratonica,
 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.
+FI: alikeskisävel.

 
 The sixth @aref{scale degree}.
 
 
 The sixth @aref{scale degree}.
 

-@aitem{subtonic}
-ES: sensible,
+@node subtonic
+@section subtonic
+
+ES: subtónica,

 I: sottotonica,
 F: sous-tonique,
 D: Subtonika,
 I: sottotonica,
 F: sous-tonique,
 D: Subtonika,


@@ -3643,7 +4397,9 @@ FI: subtoonika, alitoonika.
 
 The seventh @aref{scale degree}.
 
 
 The seventh @aref{scale degree}.
 

-@aitem{superdominant}
+@node superdominant
+@section superdominant
+

 ES: superdominante,
 I: sopradominante,
 F: sus-dominante,
 ES: superdominante,
 I: sopradominante,
 F: sus-dominante,


@@ -3655,8 +4411,10 @@ FI: ylidominantti.
 
 The sixth @aref{scale degree}.
 
 
 The sixth @aref{scale degree}.
 

-@aitem{supertonic}
-ES: supert@'onica,
+@node supertonic
+@section supertonic
+
+ES: supertónica,

 I: sopratonica,
 F: sus-tonique,
 D: Supertonika,
 I: sopratonica,
 F: sus-tonique,
 D: Supertonika,


@@ -3667,8 +4425,10 @@ FI: ylitoonika.
 
 The second @aref{scale degree}.
 
 
 The second @aref{scale degree}.
 

-@aitem{symphony}
-ES: sinfon@'{@dotless{i}}a,
+@node symphony
+@section symphony
+
+ES: sinfonía,

 I: sinfonia,
 F: symphonie,
 D: Sinfonie, Symphonie,
 I: sinfonia,
 F: symphonie,
 D: Sinfonie, Symphonie,


@@ -3679,8 +4439,10 @@ 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}
-ES: sincopado,
+@node syncopation
+@section syncopation
+
+ES: síncopa,

 I: sincope,
 F: syncope,
 D: Synkope,
 I: sincope,
 F: syncope,
 D: Synkope,


@@ -3690,90 +4452,104 @@ S: synkop,
 FI: synkooppi.
 
 Any deliberate upsetting of the normal pulse of @aref{meter},
 FI: synkooppi.
 
 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,ragged-right]

 \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}
+@node syntonic comma
+@section syntonic comma
+
+ES: coma sintónica,

 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, terssien taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a.
+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}
+@node system
+@section system
+
+ES: sistema,

 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.
+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}
+@node temperament
+@section temperament
+

 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.
+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,
+@node tempo indication
+@section tempo indication
+
+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.
+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}
+@node tenor
+@section tenor
+

 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.
+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,
+@node tenth
+@section tenth
+
+ES: décima,

 I: decima,
 I: decima,

-F: dixi@`eme,
+F: dixième,

 D: Dezime,
 NL: deciem,
 DK: decim,
 D: Dezime,
 NL: deciem,
 DK: decim,


@@ -3782,7 +4558,24 @@ FI: desimi.
 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{third}
+@node tenuto
+@section tenuto
+
+ES: subrayado (tenuto),
+I: tenuto,
+F: tenue, tenuto,
+D: gehalten, tenuo,
+NL: tenuto,
+DK: tenuto,
+S: tenuto,
+FI: viiva, tenuto.
+
+An indication that a particular note should be held for the whole
+length, although this can vary depending on the composer and era.
+
+@node third
+@section third
+

 ES: tercera,
 I: terza,
 F: tierce,
 ES: tercera,
 I: terza,
 F: tierce,


@@ -3794,7 +4587,9 @@ FI: terssi.
 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitem{thirty-second note}
+@node thirty-second note
+@section thirty-second note
+

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


@@ -3802,28 +4597,32 @@ 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,
+S: trettiotvåondelsnot,

 FI: kolmanneskymmeneskahdesosanuotti.
 
 @aref{note value}.
 
 FI: kolmanneskymmeneskahdesosanuotti.
 
 @aref{note value}.
 

-@aitem{thirty-second rest}
+@node thirty-second rest
+@section thirty-second rest
+

 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,
+S: trettiotvåondelspaus,

 FI: kolmanneskymmeneskahdesosatauko.
 
 @aref{note value}.
 
 FI: kolmanneskymmeneskahdesosatauko.
 
 @aref{note value}.
 

-@aitemii{thorough bass,figured bass}
+@node thorough bass
+@section thorough bass
+

 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,
 D: Generalbass, bezifferter Bass,
 NL: basso continuo, becijferde bas
 DK: generalbas,


@@ -3834,9 +4633,9 @@ 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.
 
 with figures designating the chief @aref{interval}s and
 @aref{chord}s to be played above the bass notes.
 

-@lilypond
+@lilypond[fragment,line-width=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


@@ -3848,41 +4647,47 @@ 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' {
+  <<
+    \context Staff = rh \relative c' {

     \clef bass
     \key es \major
     es8 c d bes c as bes16 as g f | es4
     \clef bass
     \key es \major
     es8 c d bes c as bes16 as g f | es4

-  }
-  \context Lyrics \lyrics {
-    \override Lyrics .VerticalAlign   #'threshold = #'(6 . 12)
-    << { "" "6" "" "4" "" "6" "" "" "6" "4" }
-      { "" ""  "" "2" "" ""  "" "" ""  "2" } >>
-  }
+    }
+    \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2>  }
+  >>

 >>
 @end lilypond
 
 >>
 @end lilypond
 

-@aitemii{tie,bind}
-ES: ligadura de prolongaci@'on,
+@node tie
+@section tie
+
+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,
+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
 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

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

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-\notes\relative c'' { g2 ~ g4. }
+\relative c'' { g2 ~ g4. }

 @end lilypond
 
 @end lilypond
 

-@aitem{time signature}
-ES: cifra indicadora de comp@'as,
+@node time
+@section time
+
+@aref{meter}.
+
+@node time signature
+@section time signature
+
+ES: indicación de compás,

 I: segni di tempo,
 F: chiffrage (chiffres indicateurs), signe de valeur,
 D: Taktangabe, Angabe der Taktart,
 I: segni di tempo,
 F: chiffrage (chiffres indicateurs), signe de valeur,
 D: Taktangabe, Angabe der Taktart,


@@ -3893,22 +4698,26 @@ FI: tahtiosoitus.
 
 @aref{meter}.
 
 
 @aref{meter}.
 

-@aitem{tone}
-ES: sonido,
+@node tone
+@section tone
+
+ES: tono,

 I: suono,
 F: ton,
 D: Ton,
 NL: toon,
 DK: tone,
 S: ton,
 I: suono,
 F: ton,
 D: Ton,
 NL: toon,
 DK: tone,
 S: ton,

-FI: @"a@"ani.
+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.
+
+@node tonic
+@section tonic

 
 

-@aitem{tonic}
-ES: tonica,
+ES: tónica,

 I: tonica,
 F: tonique,
 D: Tonika,
 I: tonica,
 F: tonique,
 D: Tonika,


@@ -3920,8 +4729,10 @@ FI: toonika.
 The first @aref{scale degree}.
 @aref{functional harmony}.
 
 The first @aref{scale degree}.
 @aref{functional harmony}.
 

-@aitem{transposition}
-ES: transposici@'on,
+@node transposition
+@section transposition
+
+ES: transporte,

 I: trasposizione,
 F: transposition,
 D: Transposition,
 I: trasposizione,
 F: transposition,
 D: Transposition,


@@ -3933,17 +4744,17 @@ 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,line-width=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,line-width=13.0\cm]

 \context Staff {
   \time 3/4
   \transpose c bes \relative c'' {
 \context Staff {
   \time 3/4
   \transpose c bes \relative c'' {


@@ -3953,22 +4764,26 @@ relative pitches.
 }
 @end lilypond
 
 }
 @end lilypond
 

-@aitem{treble clef}
+@node treble clef
+@section treble clef
+

 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,
 FI: diskanttiavain.
 
 @aref{G clef}.
 
 S: diskantklav,
 FI: diskanttiavain.
 
 @aref{G clef}.
 

-@aitem{tremolo}
-ES: tremolo,
+@node tremolo
+@section tremolo
+
+ES: trémolo,

 I: tremolo,
 I: tremolo,

-F: tr@'emolo,
+F: trémolo,

 D: Tremolo,
 NL: tremolo,
 DK: tremolo,
 D: Tremolo,
 NL: tremolo,
 DK: tremolo,


@@ -3976,26 +4791,28 @@ S: tremolo,
 FI: tremolo.
 
 On stringed instruments (@aref{strings}) the quick reiteration of
 FI: tremolo.
 
 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]
+@lilypond[fragment,notime,ragged-right]

 \set Score.automaticBars = ##f
 \set Score.automaticBars = ##f

-%\override Score.TextScript   #'font-style = #'large
-\notes\relative c' {
+%\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,
+@node triad
+@section triad
+
+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,


@@ -4003,7 +4820,9 @@ FI: kolmisointu.
 
 @aref{chord}.
 
 
 @aref{chord}.
 

-@aitemii{trill,shake}
+@node trill
+@section trill
+

 ES: trino,
 I: trillo,
 F: trille, tremblement, battement (cadence),
 ES: trino,
 I: trillo,
 F: trille, tremblement, battement (cadence),


@@ -4015,8 +4834,10 @@ FI: trilli.
 
 @aref{ornament}.
 
 
 @aref{ornament}.
 

-@aitem{triple meter}
-ES: comp@'as compuesto,
+@node triple meter
+@section triple meter
+
+ES: compás ternario,

 I: tempo ternario,
 F: mesure ternaire,
 D: in drei,
 I: tempo ternario,
 F: mesure ternaire,
 D: in drei,


@@ -4027,7 +4848,9 @@ FI: kolmijakoinen.
 
 @aref{meter}.
 
 
 @aref{meter}.
 

-@aitem{triplet}
+@node triplet
+@section triplet
+

 ES: tresillo,
 I: terzina,
 F: triolet,
 ES: tresillo,
 I: terzina,
 F: triolet,


@@ -4039,8 +4862,10 @@ FI: trioli.
 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{tritone}
-ES: tr@'{@dotless{i}}tono,
+@node tritone
+@section tritone
+
+ES: tritono,

 I: tritono,
 F: triton,
 D: Tritonus,
 I: tritono,
 F: triton,
 D: Tritonus,


@@ -4051,21 +4876,26 @@ FI: tritonus.
 
 @aref{interval}.
 
 
 @aref{interval}.
 

-@aitem{tuning fork}
-ES: diapas@'on,
+@node tuning fork
+@section tuning fork
+
+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,
+S: stämgaffel,

 FI: viritysavain.
 
 A two-pronged piece of steel used to indicate absolute pitch.  Tuning forks
 FI: viritysavain.
 
 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}
-ES: grupo,
+@node turn
+@section turn
+
+ES: grupeto,

 I: gruppetto,
 F: grupetto,
 D: Doppelschlag,
 I: gruppetto,
 F: grupetto,
 D: Doppelschlag,


@@ -4076,24 +4906,28 @@ FI: korukuvio.
 
 @aref{ornament}.
 
 
 @aref{ornament}.
 

-@aitem{unison}
-ES: un@'{@dotless{i}}sono,
+@node unison
+@section unison
+
+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.
+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,
+@node upbeat
+@section upbeat
+
+ES: anacrusa,

 I: anacrusi,
 I: anacrusi,

-F: anacrouse, lev@'ee,
+F: anacrouse, levée,

 D: Auftakt,
 NL: opmaat,
 DK: optakt,
 D: Auftakt,
 NL: opmaat,
 DK: optakt,


@@ -4103,31 +4937,34 @@ 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,line-width=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}
+@node voice
+@section voice
+

 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.
+S: stämma,
+FI: ääni, lauluääni.
+
+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.

 
 

-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.
+@node weak beat
+@section weak beat

 
 

-@aitem{weak beat}
-ES: tiempo d@'ebil,
+ES: tiempo débil,

 I: tempo debole, arsi,
 F: temps faible,
 D: unbetonter Taktteil oder Taktschlag,
 I: tempo debole, arsi,
 F: temps faible,
 D: unbetonter Taktteil oder Taktschlag,


@@ -4138,7 +4975,9 @@ FI: tahdin heikko isku.
 
 @aref{beat}, @aref{measure}, @aref{rhythm}.
 
 
 @aref{beat}, @aref{measure}, @aref{rhythm}.
 

-@aitem{whole note}
+@node whole note
+@section whole note
+

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


@@ -4151,7 +4990,9 @@ FI: kokonuotti.
 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{whole rest}
+@node whole rest
+@section whole rest
+

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


@@ -4164,8 +5005,10 @@ FI: kokotauko.
 
 @aref{note value}.
 
 
 @aref{note value}.
 

-@aitem{whole tone}
-ES: tono,
+@node whole tone
+@section whole tone
+
+ES: tono (entero),

 I: tono intero,
 F: ton entier,
 D: Ganzton,
 I: tono intero,
 F: ton entier,
 D: Ganzton,


@@ -4178,170 +5021,273 @@ 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.
 
 tones on the piano keyboard with exactly one key between them -- including
 black and white keys -- is a whole tone.
 

-@aitem{woodwind}
+@node woodwind
+@section woodwind
+

 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,
+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
 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
 
 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
 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
 

-@end table
-
-@page
+@node Duration names notes and rests
+@chapter Duration names, notes and rests

 
 

-@table @samp
+@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}
+@item
+  @tab @strong{UK}
+  @tab @strong{I}
+  @tab @strong{F (note name / rest name)}
+@item
+  @tab @strong{D}
+  @tab @strong{NL}
+  @tab @strong{DK}
+@item
+  @tab @strong{S}
+  @tab @strong{FI}
+  @tab @strong{ES}

 
 @item
 
 
 @item
 

-@item @strong{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 longa

 
 @item
 
 
 @item
 

-@item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
-brevis @tab brevis @tab brevis @tab brevis
+@item @strong{breve}
+  @tab breve
+  @tab breve
+  @tab brève / double-pause
+@item
+  @tab Brevis
+  @tab brevis
+  @tab brevis
+@item
+  @tab brevis
+  @tab brevis
+  @tab cuadrada

 
 @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 / pause
+@item
+  @tab Ganze
+  @tab hele
+  @tab hel
+@item
+  @tab hel
+  @tab koko@-nuotti/@w{-tauko}
+  @tab redonda

 
 @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 / demi-pause
+@item
+  @tab Halbe
+  @tab halve
+  @tab halv
+@item
+  @tab halv
+  @tab puoli@-nuotti/@w{-tauko}
+  @tab blanca

 
 @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 / soupir
+@item
+  @tab Viertel
+  @tab kwart
+  @tab fjerdedel
+@item
+  @tab fjärdedel
+  @tab neljännesosa@-nuotti/@w{-tauko}
+  @tab negra

 
 @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 / demi-soupir
+@item
+  @tab Achtel
+  @tab achtste
+  @tab ottendedel
+@item
+  @tab åttondel
+  @tab kahdeksasosa@-nuotti/@w{-tauko}
+  @tab corchea

 
 @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 / quart de soupir
+@item
+  @tab Sechzehntel
+  @tab zestiende
+  @tab sekstendedel
+@item
+  @tab sextondel
+  @tab kuudestoistaosa@-nuotti/@w{-tauko}
+  @tab semicorchea

 
 @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 / huitième de soupir
+@item
+  @tab Zweiunddreissigstel
+  @tab tweeendertigste
+  @tab toogtredivtedel
+@item
+  @tab trettiotvåondel
+  @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
+  @tab fusa

 
 @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 / seizième de soupir
+@item
+  @tab Vierundsechzigstel
+  @tab vierenzestigste
+  @tab fireogtred@-sindstyvendedel
+@item
+  @tab sextiofjärdedel
+  @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
+  @tab semifusa

 
 @end multitable
 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
 
 
 @end multitable
 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
 

-@page
+@node Pitch names
+@chapter Pitch names

 
 

-@table @samp
+@table @code

 @item PITCH NAMES
 @end table
 
 @item PITCH NAMES
 @end table
 

-@multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111 
+@c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
+@multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1

 
 

-@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{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
+@tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}

 
 @item
 
 
 @item
 

-@item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
+@item @strong{c} @tab do  @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
+@item @strong{c-sharp} @tab do sostenido  @tab do diesis  @tab ut dièse @tab
+Cis @tab cis @tab

 cis @tab cis @tab cis
 
 @item
 
 cis @tab cis @tab cis
 
 @item
 

-@item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
+@item @strong{d-flat} @tab re bemol  @tab re bemolle  @tab ré bémol @tab
+Des @tab des @tab

 des @tab des @tab des
 
 @item
 
 des @tab des @tab des
 
 @item
 

-@item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
+@item @strong{d} @tab re  @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
+@item @strong{e} @tab mi  @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
+@item @strong{f} @tab fa  @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
+@item @strong{g} @tab sol  @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
+@item @strong{a-flat} @tab la bemol  @tab la bemolle  @tab la bémol @tab As
+@tab as @tab as

 @tab as @tab as
 
 @item
 
 @tab as @tab as
 
 @item
 

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

 ais @tab ais @tab ais
 
 @item
 
 ais @tab ais @tab ais
 
 @item
 

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

 @tab b @tab b
 
 @item
 
 @tab b @tab b
 
 @item
 

-@item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
+@item @strong{b} @tab si  @tab si  @tab si @tab H @tab b @tab h @tab h @tab h

 
 @end multitable
 
 
 @end multitable
 

-@
-
-@table @samp
-
-@item ---------------------

 
 

-@
+@node Literature used
+@unnumbered Literature used

 
 

-@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.
+@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.

 
 

-Hugo Riemanns Musiklexicon, Berlin 1929.
+@item Hugo Riemanns Musiklexicon, Berlin 1929.

 
 

-Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
-Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.
+@item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.

 
 

-Webster's Revised Unabridged Dictionary, Springfield 1913.
+@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