Merge branch 'master' of ssh+git://hanwen@git.sv.gnu.org/srv/git/lilypond

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

diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely
index 55ac317db99ff17826cd98cc6e55e0c4d9b6375d..840ac2ccb9ceef47551b63ea317c8c1f776e4ccf 100644 (file)
--- a/Documentation/user/music-glossary.tely
+++ b/Documentation/user/music-glossary.tely
@@ -5,7 +5,8 @@
 @documentencoding utf-8
 @documentlanguage en
 
-@dircategory GNU music project
+@c see lilypond.tely for info installation note
+@dircategory LilyPond
 @direntry
 * Glossary: (lilypond/music-glossary).  Glossary of music terms.
 @end direntry
@@ -58,9 +59,11 @@ Copyright @copyright{} 1999--2006 by the authors
 @top Music glossary
 @end ifnottex
 
-This glossary was brought you by
 
 @ifnottex
+
+This glossary was brought you by
+
 @table @code
 @item Adrian Mariano
 Italian glossary,
@@ -1345,6 +1348,7 @@ music of the baroque era, has been one of the most popular polyphonic
 composition methods.
 
 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
+\set Score.implicitTimeSignatureVisibility = #all-invisible
 \override Score.TimeSignature #'break-visibility = #all-invisible
 \context PianoStaff <<
   \context Staff = SA \relative c' {
@@ -1416,7 +1420,7 @@ S: crescendo,
 FI: cresendo, voimistuen.
 
 Increasing volume.  Indicated by a rightwards opening horizontal wedge or the
-abbreviation ``cresc.''.
+abbreviation @q{cresc.}.
 
 @lilypond[fragment,ragged-right]
 \key g \major \time 4/4
@@ -1498,7 +1502,7 @@ 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.''.
+to a certain place marked @emph{fine}.  Mostly abbreviated as @q{D.C.}.
 
 @node dal segno
 @section dal segno
@@ -1512,7 +1516,7 @@ DK: dal segno,
 S: dal segno,
 FI: dal segno, lähtien merkistä.
 
-Abbreviated ``d.s.''.  Repetition, not from the beginning, but from
+Abbreviated @q{d.s.}.  Repetition, not from the beginning, but from
 another place frequently near the beginning marked by a sign:
 
 @lilypond[fragment,ragged-right]
@@ -1540,7 +1544,7 @@ S: decrescendo,
 FI: decresendo, hiljentyen.
 
 Decreasing tone volume.  Indicated by a leftwards opening horizontal wedge
-or the abbreviation ``decresc.''.
+or the abbreviation @q{decresc.}.
 
 @lilypond[fragment,ragged-right]
 \relative c'' {
@@ -1763,7 +1767,7 @@ FI: diminuendo, hiljentyen.
 @node disjunct movement
 @section disjunct movement
 
-ES: movimiendo disjunto,
+ES: movimiento disjunto,
 I: moto disgiunto,
 F: mouvement disjoint,
 D: sprunghafte Bewegung,
@@ -2596,7 +2600,7 @@ Consonances:
   <g d'>_"fifth  " s
   <g e'>_"sixth  " s
   <g g'>_"octave  " s
-  <g b'>_"decime" s s
+  <g b'>_"tenth" s s
 }
 @end lilypond
 
@@ -2703,7 +2707,7 @@ of such two intervals forms an octave.
 }
 \context Lyrics \lyrics {
   "seventh " "seventh " "seventh " "octave "
-  "none " "none " "decime " "decime"
+  "ninth " "ninth " "tenth " "tenth"
 }
 >>
 @end lilypond
@@ -2806,7 +2810,7 @@ S: ledton,
 FI: johtosävel.
 
 The seventh @aref{scale degree}, a @aref{semitone} below
-the tonic; so called because of its strong tendency to ``lead up'' (resolve
+the tonic; so called because of its strong tendency to @q{lead up} (resolve
 upwards) to the tonic scale degree.
 
 @node ledger line
@@ -2854,7 +2858,7 @@ unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
     c4-. d-. e-. \bar "||"
   }
   \lyrics {
-    a1
+    a2.
     b
     c
     d
@@ -3264,16 +3268,22 @@ FI: teema, sävelaihe.
 The briefest intelligible and self-contained fragment of a musical theme or
 subject.
 
-@lilypond[fragment,line-width=13.0\cm]
-\override Score.TimeSignature #'break-visibility = #all-invisible
-%\override Score.TextScript #'font-style = #'large
+@lilypond[line-width=13.0\cm]
+\score{
 \relative c'' {
+  \set Score.implicitTimeSignatureVisibility = #all-invisible
+  \override Score.TimeSignature #'break-visibility = #all-invisible
   \time 4/4
   \key g \major
-  \partial 8 g16_"------" fis |
-  g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
+  \partial 8 g16\startGroup fis |
+  g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
   g8 g,16 a b8 cis d16 s
 }
+\layout {
+       \context {
+               \Staff \consists "Horizontal_bracket_engraver"
+}}
+}
 @end lilypond
 
 @node movement
@@ -4224,7 +4234,7 @@ A form used frequently for single movements of the @aref{sonata},
 falls into three sections called @emph{exposition}, @emph{development} and
 @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
+composer @q{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