X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fmusic-glossary.tely;h=b392e66ee8b287cf965dbc3548b91186be717d1f;hb=e1a149d0cc60b02e86209387958f4028567dd366;hp=ef649b2996249a125455f63b52971884989db4c5;hpb=08666d43e1dd61b654c40a77d5785544065af423;p=lilypond.git

diff --git a/Documentation/music-glossary.tely b/Documentation/music-glossary.tely
index ef649b2996..b392e66ee8 100644
--- a/Documentation/music-glossary.tely
+++ b/Documentation/music-glossary.tely
@@ -818,7 +818,7 @@ S: upptakt,
 FI: kohotahti.
 
 An anacrusis (also known as pickup or upbeat) is an incomplete measure
-of music before a section of music. It also refers to the initial
+of music before a section of music.  It also refers to the initial
 note(s) of a melody occurring in that incomplete measure.
 
 @lilypond[quote,relative=1]
@@ -1027,22 +1027,6 @@ A distance between a starting lower note and a higher ending note.
 No cross-references.
 
 
-@node augmented interval
-@section augmented interval
-
-ES: intervalo aumentado,
-I: intervallo aumentato,
-F: intervalle augmenté,
-D: übermäßiges Intervall,
-NL: overmatig interval,
-DK: forstørret interval,
-S: överstigande intervall,
-FI: ylinouseva intervalli.
-
-@seealso
-@ref{interval}.
-
-
 @node augmentation
 @section augmentation
 
@@ -1063,6 +1047,22 @@ This is a placeholder for augmentation (wrt mensural notation).
 @ref{diminution}, @ref{mensural notation}.
 
 
+@node augmented interval
+@section augmented interval
+
+ES: intervalo aumentado,
+I: intervallo aumentato,
+F: intervalle augmenté,
+D: übermäßiges Intervall,
+NL: overmatig interval,
+DK: forstørret interval,
+S: överstigande intervall,
+FI: ylinouseva intervalli.
+
+@seealso
+@ref{interval}.
+
+
 @node autograph
 @section autograph
 
@@ -1081,7 +1081,7 @@ FI: käsinkirjoitettu nuotti.
 
 @item Music prepared for photoreproduction by freehand drawing, with
 the aid of a straightedge ruler and T-square only, which attempts to
-emulate engraving. This required more skill than did engraving.
+emulate engraving.  This required more skill than did engraving.
 
 @end itemize
 
@@ -1235,7 +1235,7 @@ DK: bjælke,
 S: balk,
 FI: palkki.
 
-Line connecting a series of notes (shorter than a quarter note). The
+Line connecting a series of notes (shorter than a quarter note).  The
 number of beams determines the note value of the connected notes.
 
 @lilypond[quote,notime,relative=2,line-width=13\cm]
@@ -1602,9 +1602,9 @@ S: ackord,
 FI: sointu.
 
 Three or more tones sounding simultaneously.  In traditional European music
-the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
+the base chord is a @emph{triad} consisting of two thirds.  @emph{Major}
 (major + minor third) as well as @emph{minor} (minor + major third) chords
-may be extended with more thirds. Four-tone @emph{seventh chords} and
+may be extended with more thirds.  Four-tone @emph{seventh chords} and
 five-tone @emph{ninth} major chords are most often used as dominants
 (functional harmony).  Chords having no third above the lower notes to
 define their mood are a special case called @q{open chords}.  The lack of
@@ -1792,7 +1792,7 @@ the top line high F:
 
 Staves of five lines are usually used, and the clef superimposed on them
 indicates which five lines have been selected from this @notation{grand
-staff}. For example, the treble or G clef indicates that the top five lines
+staff}.  For example, the treble or G clef indicates that the top five lines
 have been selected:
 
 @lilypond[quote]
@@ -2048,7 +2048,7 @@ Intervals larger than an octave.
 ES: compás compuesto, compás de subdivisión ternaria,
 I: tempo composto,
 F: mesure composée,
-D: ?,
+D: Dreiertakt,
 NL: ?,
 DK: ?,
 S: ?,
@@ -2067,7 +2067,7 @@ A meter that includes a triplet subdivision within the beat, such as
 ES: compás compuesto, compás de amalgama (def. 2),
 I: ?,
 F: temps composé,
-D: ?,
+D: zusammengesetzte Taktart,
 NL: ?,
 DK: ?,
 S: ?,
@@ -2119,7 +2119,7 @@ A time signature that additively combines two or more unequal meters, e.g.,
 ES: en Do, tono de concierto,
 I: intonazione reale,
 F: tonalité de concert, en ut,
-D: ?,
+D: Kammerton,
 NL: ?,
 DK: ?,
 S: ?,
@@ -2462,7 +2462,7 @@ No cross-references.
 ES: dal niente, de la nada,
 I: dal niente,
 F: partant de rien,
-D: ?,
+D: aus dem Nichts, dal niente,
 NL: ?,
 DK: ?,
 S: ?,
@@ -2562,7 +2562,7 @@ DK: diatonisk skala,
 S: diatonisk skala,
 FI: diatoninen asteikko.
 
-A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
+A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S).  Scales
 played on the white keys of a piano keyboard are diatonic.  These scales
 are sometimes called, somewhat inaccurately, @q{church modes}).
 
@@ -2767,7 +2767,7 @@ Abbreviated @emph{dim.} It indicates a decrease in tone volume.
 ES: disminución,
 I: diminuzione,
 F: diminution,
-D: ?,
+D: Diminution,
 NL: ?,
 DK: ?,
 S: ?,
@@ -2854,7 +2854,7 @@ FI: dissonanssi, dissonoiva intervalli, riitasointi.
 ES: división,
 I: ?,
 F: ?,
-D: ?,
+D: Divisio,
 NL: ?,
 DK: ?,
 S: ?,
@@ -2889,7 +2889,7 @@ No cross-references.
 ES: elevación [de tono],
 I: ?,
 F: saut,
-D: ?,
+D: Glissando zu unbestimmter Tonhöhe,
 NL: ?,
 DK: ?,
 S: ?,
@@ -3088,7 +3088,7 @@ FI: kaksoisylennysmerkki.
 ES: compás polimétrico,
 I: ?,
 F: ?,
-D: ?,
+D: zusammengesetzte Taktart,
 NL: ?,
 DK: ?,
 S: ?,
@@ -3256,7 +3256,7 @@ indicate this information are called dynamic marks.
 ES: sinalefa,
 I: elisione,
 F: élision,
-D: ?,
+D: Elision,
 NL: ?,
 DK: ?,
 S: ?,
@@ -3508,7 +3508,7 @@ Double Bass).
 ES: caída [de tono],
 I: ?,
 F: chute,
-D: ?,
+D: Glissando zu unbestimmter Tonhöhe nach unten,
 NL: ?,
 DK: ?,
 S: ?,
@@ -3691,7 +3691,7 @@ g64-"64th" s8
 ES: armónico,
 I: ?,
 F: flageolet,
-D: ?,
+D: Flageolett,
 NL: ?,
 DK: ?,
 S: ?,
@@ -3784,11 +3784,11 @@ FI: kvartti.
 ES: partitura a la francesa,
 I: ?,
 F: ?,
-D: ?,
+D: Orchesterpartitur ohne leere Systeme,
 NL: ?,
 DK: ?,
 S: ?,
-FI: partituuri francesan tapaan.
+FI: partituuri ilman tyhjiä nuottiviivastoja.
 
 A @q{condensed} score, produced by omitting staves for instruments that are not
 playing at the moment, and by moving up additional systems from following pages
@@ -3809,7 +3809,7 @@ you may wish to procure a copy of their style manual.
 ES: pentagrama a la francesa,
 I: ?,
 F: ?,
-D: ?,
+D: zeitweiliges Notensystem,
 NL: ?,
 DK: ?,
 S: ?,
@@ -4217,11 +4217,11 @@ For harmony that uses three or more notes, see @ref{chord}.
 ES: hemiolia,
 I: emiolia, (rarely hemiola or emiola),
 F: hémiole,
-D: ?,
+D: Hemiole,
 NL: ?,
 DK: ?,
 S: ?,
-FI: 3/2 -suhde.
+FI: hemioli, 3/2 -suhde.
 
 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
 
@@ -4289,7 +4289,7 @@ the same rhythm (more or less).  In contrast to @emph{polyphony}.
 ES: ?,
 I: ?,
 F: ?,
-D: ?,
+D: Silbenanzahl,
 NL: ?,
 DK: ?,
 S: ?,
@@ -4404,35 +4404,35 @@ The addition of such two intervals forms an octave.
 ES: inversión,
 I: rivolto,
 F: renversement,
-D: ?,
+D: Umkehrung,
 NL: ?,
 DK: ?,
 S: ?,
 FI: käännös.
 
 When a chord sounds with a bass note that differs from the root of the
-chord, it is said to be @emph{inverted}. The number of inversions that a
+chord, it is said to be @emph{inverted}.  The number of inversions that a
 chord can have is one fewer than the number of constituent notes.  For
 example, triads (which have three constituent notes) can have three
 positions, two of which are inversions:
 
 @table @dfn
 @item Root position
-The root note is in the bass, and above that are the third and the fifth. A
+The root note is in the bass, and above that are the third and the fifth.  A
 triad built on the first scale degree, for example, is marked @notation{I}.
 
 @item First inversion
-The third is in the bass, and above it are the fifth and the root. This
+The third is in the bass, and above it are the fifth and the root.  This
 creates an interval of a sixth and a third above the bass note, and so is
-marked in figured Roman notation as @notation{6/3}. This is commonly
+marked in figured Roman notation as @notation{6/3}.  This is commonly
 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
 characteristic interval of the inversion, and so always implies
 @notation{6/3}.
 
 @item Second inversion
-The fifth is in the bass, and above it are the root and the third. This
+The fifth is in the bass, and above it are the root and the third.  This
 creates an interval of a sixth and a fourth above the bass note, and so is
-marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
+marked as @notation{I6/4} or @notation{Ic}.  Second inversion is the most
 unstable chord position.
 @end table
 
@@ -4527,14 +4527,14 @@ key of the music.
 ES: dejar vibrar,
 I: laissez vibrer,
 F: laissez vibrer,
-D: ?,
+D: Laissez vibrer, schwingen lassen,
 NL: ?,
 DK: ?,
 S: ?,
 FI: antaa väristä.
 
 [French: @q{Let vibrate}]  Most frequently associated with harp
-parts. Marked @notation{l.v.} in the score.
+parts.  Marked @notation{l.v.} in the score.
 
 @seealso
 No cross-references.
@@ -4553,7 +4553,7 @@ S: largo,
 FI: largo, hitaasti, leveästi.
 
 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
-expressiveness. @emph{Larghetto} is less slow than largo.
+expressiveness.  @emph{Larghetto} is less slow than largo.
 
 
 @node leading note
@@ -4719,7 +4719,7 @@ FI: viiva, nuottiviiva.
 ES: en su lugar,
 I: loco,
 F: ?,
-D: ?,
+D: loco,
 NL: ?,
 DK: ?,
 S: ?,
@@ -4798,7 +4798,7 @@ FI: sidonta sanoituksessa.
 ES: letra (de la canción),
 I: testo,
 F: paroles,
-D: Liedtext, Gesangtext,
+D: Liedtext, Gesangstext,
 NL: liedtekst,
 DK: ?,
 S: ?,
@@ -4848,11 +4848,11 @@ FI: suuri intervalli.
 ES: máxima,
 I: maxima,
 F: maxima, maxime,
-D: ?,
+D: Maxima,
 NL: ?,
 DK: ?,
 S: ?,
-FI: ?.
+FI: maxima.
 
 Note value: twice the length of a @notation{longa}.
 
@@ -4967,7 +4967,7 @@ No cross-references.
 ES: línea de melisma,
 I: linea del melisma,
 F: trait de mélisme, trait de tenue,
-D: ?,
+D: Fülllinie,
 NL: ?,
 DK: ?,
 S: ?,
@@ -4992,7 +4992,7 @@ FI: melismaviiva.
 ES: notación mensural,
 I: notazione mensurale,
 F: notation mensurale,
-D: ?,
+D: Mensuralnotation,
 NL: ?,
 DK: ?,
 S: ?,
@@ -5039,7 +5039,7 @@ TODO: add to definition (including summary info on proportional notation)
 ES: signo de mensuración,
 I: ?,
 F: signe de mensuration,
-D: ?,
+D: Mensurzeichen,
 NL: ?,
 DK: ?,
 S: ?,
@@ -5360,7 +5360,7 @@ Exact tempo indication (in beats per minute).  Abbreviated @notation{M.M.} or
 ES: mezzo,
 I: mezzo,
 F: mezzo,
-D: ?,
+D: mezzo, etwas,
 NL: ?,
 DK: ?,
 S: ?,
@@ -5416,7 +5416,7 @@ The female voice between soprano and contralto.
 ES: do central,
 I: do centrale,
 F: do central, do 3
-D: eingestrichenes@w{ }c,
+D: zweigestrichenes@w{ }c,
 NL: centrale@w{ }c,
 DK: enstreget@w{ }c,
 S: ettstruket@w{ }c,
@@ -5603,7 +5603,7 @@ FI: usean tahdin mittainen tauko.
 Multi-measure rests are conventionally typeset with a combination of
 longa, breve and whole rests for shorter and a long horizontal bar for
 longer spans of rest, with a number above to indicate the duration (in
-measures) of the rest. The former style is called @q{Kirchenpausen} in
+measures) of the rest.  The former style is called @q{Kirchenpausen} in
 German, as a reminiscence of its use in Renaissance vocal polyphony.
 
 @lilypond[quote,relative=2]
@@ -5846,7 +5846,7 @@ bracket, or @notation{loco} see octave marking.
 ES: indicación de octava,
 I: segno di ottava,
 F: indication d'octave,
-D: ?,
+D: Oktavierungszeichen,
 NL: ?,
 DK: ?,
 S: ?,
@@ -6237,7 +6237,7 @@ No cross-references.
 ES: compás polimétrico,
 I: polimetria,
 F: polymétrie,
-D: ?,
+D: Polymetrie,
 NL: ?,
 DK: ?,
 S: ?,
@@ -6262,7 +6262,7 @@ parts.
 ES: polimétrico,
 I: polimetrico,
 F: polymétrique,
-D: ?,
+D: polymetrisch,
 NL: ?,
 DK: ?,
 S: ?,
@@ -6281,7 +6281,7 @@ simultaneously or in alternation.
 ES: indicación de compás polimétrico,
 I: tempo polimetrico,
 F: ?,
-D: ?,
+D: zusammengesetzte Taktart,
 NL: ?,
 DK: ?,
 S: ?,
@@ -6318,7 +6318,7 @@ of a more or less pronounced individuality.
 [Italian: past participle of @emph{portare}, @q{to carry}]
 
 A stroke in which each of several notes is separated slightly within a slur,
-without changing the bow's direction. It is used for passages of a
+without changing the bow's direction.  It is used for passages of a
 @notation{cantabile} character.
 
 @seealso
@@ -6352,7 +6352,7 @@ No cross-references.
 ES: proporción,
 I: proporzione,
 F: proportion,
-D: ?,
+D: Proportio,
 NL: ?,
 DK: ?,
 S: ?,
@@ -6496,7 +6496,7 @@ FI: kvartoli.
 ES: variante [de acorde o intervalo],
 I: qualità (?),
 F: qualité (?),
-D: ?,
+D: Modus (Dur oder Moll),
 NL: ?,
 DK: ?,
 S: ?,
@@ -6506,7 +6506,7 @@ The quality of a triad is determined by the precise arrangement of its
 intervals.  Tertian triads can be described as a series of three notes.  The
 first element is the root note (or simply @q{root}) of the chord, the second
 note is the @q{third} of the chord, and the last note is the @q{fifth} of
-the chord. These are described below:
+the chord.  These are described below:
 
 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
 @headitem Chord name
@@ -6530,9 +6530,9 @@ the chord. These are described below:
 There are various types of seventh chords depending on the quality of the
 original chord and the quality of the seventh added.
 
-Five common types of seventh chords have standard symbols. The chord quality
+Five common types of seventh chords have standard symbols.  The chord quality
 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
-and D^m7 are all identical). The last three chords are not commonly used
+and D^m7 are all identical).  The last three chords are not commonly used
 except in jazz.
 
 @seealso
@@ -6910,7 +6910,7 @@ second depends on the scale degrees in question.
 @item ES: redonda,
 @item I: semibreve,
 @item F: ronde,
-@item D: Ganze, ganze Note,
+@item D: Ganze, ganze Note, Semibrevis,
 @item NL: hele noot,
 @item DK: helnode,
 @item S: helnot,
@@ -7019,7 +7019,7 @@ FI: korotusmerkki.
 ES: simile, similar,
 I: simile,
 F: simile,
-D: ?,
+D: simile, gleichartig,
 NL: ?,
 DK: ?,
 S: ?,
@@ -7039,7 +7039,7 @@ TODO: Where else could I refer the reader?
 ES: compás simple, compás de subdivisión binaria,
 I: ?,
 F: mesure binaire,
-D: ?,
+D: grader Takt,
 NL: ?,
 DK: ?,
 S: ?,
@@ -7358,7 +7358,7 @@ whole note.
 ES: stringendo, acelerando,
 I: stringendo,
 F: stringendo, en accélérant,
-D: ?,
+D: stringendo,
 NL: ?,
 DK: ?,
 S: ?,
@@ -7601,7 +7601,7 @@ D: Notensystem, Partitur,
 NL: systeem,
 DK: system,
 S: system,
-FI: nuottijärjestelmä.
+FI: nuottiviivasto.
 
 The collection of staves (@notation{staff}), two or more, as used for writing
 down of keyboard, chamber, choral, or orchestral music.
@@ -7859,7 +7859,7 @@ The first @notation{scale degree}.
 ES: instrumento transpositor,
 I: strumento traspositore,
 F: instrument transpositeur,
-D: ?,
+D: transponierende Instrumente,
 NL: ?,
 DK: ?,
 S: ?,
@@ -8025,7 +8025,7 @@ FI: trilli.
 ES: compás ternario,
 I: tempo ternario,
 F: mesure ternaire,
-D: in drei, ungerader Takt,
+D: Dreiertakt, ungerader Takt,
 NL: driedelige maatsoort,
 DK: tredelt takt,
 S: tretakt,
@@ -8077,7 +8077,7 @@ D: Stimmgabel,
 NL: stemvork,
 DK: stemmegaffel,
 S: stämgaffel,
-FI: viritysavain.
+FI: viritysavain, äänirauta.
 
 A two-pronged piece of steel used to indicate an absolute pitch, usually for
 @emph{A} above middle C (440 cps/Hz), which is the international tuning
@@ -8093,7 +8093,7 @@ standard.  Tuning forks for other pitches are available.
 ES: grupo de valoración especial,
 I: gruppi irregolari,
 F: ?,
-D: ?,
+D: N-tole,
 NL: Antimetrische figuur,
 DK: ?,
 S: ?,
@@ -8198,7 +8198,7 @@ No cross-references.
 ES: vez, primera y segunda vez,
 I: volta,
 F: volta, fois,
-D: ?,
+D: volta-Klammer, Wiederholungsklammer,
 NL: ?,
 DK: ?,
 S: ?,