X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fmusic-glossary.tely;h=fb01b8ca89d974edc9027a3f8d224055a60a8537;hb=42984d05239a3c3be1ea859ba5214ce140448afc;hp=42373c404982defa95feb938da37e75befc17e01;hpb=0c71ac4a0b898f9b9b615f826f3211b8e60c35b0;p=lilypond.git

diff --git a/Documentation/music-glossary.tely b/Documentation/music-glossary.tely
index 42373c4049..fb01b8ca89 100644
--- a/Documentation/music-glossary.tely
+++ b/Documentation/music-glossary.tely
@@ -14,7 +14,7 @@ terms used in the documentation manuals for LilyPond version
 
 @c `Music Glossary' was born 1999-10-04 with git commit 280a0bb...
 @macro copyrightDeclare
-Copyright @copyright{} 1999--2010 by the authors
+Copyright @copyright{} 1999--2011 by the authors
 @end macro
 
 @set FDL
@@ -57,6 +57,7 @@ Copyright @copyright{} 1999--2010 by the authors
 * Musical terms A-Z::
 * Duration names notes and rests::
 * Pitch names::
+* Non-Western terms A-Z::
 
 Appendices
 
@@ -148,6 +149,7 @@ Languages in this order.
 * cluster::
 * comma::
 * common meter::
+* Common Practice Period::
 * common time::
 * complement::
 * compound interval::
@@ -328,6 +330,7 @@ Languages in this order.
 * polymetric time signature::
 * polyphony::
 * portato::
+* power chord::
 * presto::
 * proportion::
 * Pythagorean comma::
@@ -536,7 +539,7 @@ principal note to which it is attached.  The acciaccatura is drawn as a
 small eighth note (quaver) with a line drawn through the flag and stem.
 
 @seealso
-@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
+@ref{appoggiatura}, @ref{grace notes}, @ref{mordent}, @ref{ornament}.
 
 
 @node accidental
@@ -818,7 +821,7 @@ 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 +1030,6 @@ 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 +1050,22 @@ 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 +1084,7 @@ 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 +1238,7 @@ 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]
@@ -1381,7 +1384,7 @@ FI: vaskisoitin.
 
 A family of blown musical instruments made of brass, all using a cup
 formed mouth piece.  The brass instruments commonly used in a symphony
-orchestra are trumpet, trombone, french horn, and tuba.  In marching bands,
+orchestra are trumpet, trombone, French horn, and tuba.  In marching bands,
 sousaphones and contrabass bugles are common.
 
 @seealso
@@ -1602,9 +1605,9 @@ 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 +1795,7 @@ 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]
@@ -1989,6 +1992,25 @@ Another name for @ref{common time}.
 @ref{common time}, @ref{meter}.
 
 
+@node Common Practice Period
+@section Common Practice Period
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@c TODO:
+This is a stub for Common Practice Period (CPP).
+
+@seealso
+@ruser{Note names in other languages}.
+
+
 @node common time
 @section common time
 
@@ -2048,7 +2070,7 @@ 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 +2089,7 @@ 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: ?,
@@ -2080,29 +2102,16 @@ A meter that includes a triplet subdivision within the beat: see
 @ref{compound meter}.
 
 @item
-A time signature that additively combines two or more unequal meters, e.g.,
-@q{3/8 + 2/8} instead of @q{5/8}.  Sometimes called additive time signatures.
+A time signature that additively combines two or more unequal meters,
+e.g., @q{3/8 + 2/8} instead of @q{5/8}.  Sometimes called additive time
+signatures.
 
 @end enumerate
 
-@lilypond[quote,line-width=13.0\cm]
-#(define ((compound-time one two three num) grob)
-  (grob-interpret-markup grob
-    (markup
-      #:override '(baseline-skip . 0)
-      #:number
-      #:line (
-        #:left-column (one num)
-        #:vcenter "+"
-        #:left-column (two num)
-        #:vcenter "+"
-        #:left-column (three num)))))
-
+@lilypond[quote,verbatim]
 \relative c' {
   \key f \major
-  #(set-time-signature 8 8 '(3 2 3))
-  \override Staff.TimeSignature #'stencil =
-    #(compound-time "3" "2" "3" "8")
+  \compoundMeter #'((3 8) (2 8) (3 8))
   c8 d e f4 d8 c bes
   c4 g'8 e c f4.
   \bar "||"
@@ -2110,7 +2119,9 @@ A time signature that additively combines two or more unequal meters, e.g.,
 @end lilypond
 
 @seealso
-@ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
+@ref{compound meter},
+@ref{meter},
+@ref{polymetric time signature}.
 
 
 @node concert pitch
@@ -2119,7 +2130,7 @@ 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: ?,
@@ -2387,7 +2398,7 @@ the player or singer to manage line breaks during performance, which
 enhances the readability of a score.
 
 Custodes were frequently used in music notation until the 16th century.
-There were different appearences for different notation styles.  Nowadays,
+There were different appearances for different notation styles.  Nowadays,
 they have survived only in special forms of musical notation such as the
 @emph{Editio Vaticana}, dating from the beginning of the 20th century
 
@@ -2462,7 +2473,7 @@ 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: ?,
@@ -2562,8 +2573,8 @@ DK: diatonisk skala,
 S: diatonisk skala,
 FI: diatoninen asteikko.
 
-A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
-played on the white keys of a piano keybord are diatonic.  These 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}).
 
 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
@@ -2755,6 +2766,8 @@ DK: diminuendo,
 S: diminuendo,
 FI: diminuendo, hiljentyen.
 
+Abbreviated @emph{dim.} It indicates a decrease in tone volume.
+
 @seealso
 @ref{decrescendo}.
 
@@ -2765,7 +2778,7 @@ FI: diminuendo, hiljentyen.
 ES: disminución,
 I: diminuzione,
 F: diminution,
-D: ?,
+D: Diminution,
 NL: ?,
 DK: ?,
 S: ?,
@@ -2852,7 +2865,7 @@ FI: dissonanssi, dissonoiva intervalli, riitasointi.
 ES: división,
 I: ?,
 F: ?,
-D: ?,
+D: Divisio,
 NL: ?,
 DK: ?,
 S: ?,
@@ -2887,7 +2900,7 @@ No cross-references.
 ES: elevación [de tono],
 I: ?,
 F: saut,
-D: ?,
+D: Glissando zu unbestimmter Tonhöhe,
 NL: ?,
 DK: ?,
 S: ?,
@@ -3086,7 +3099,7 @@ FI: kaksoisylennysmerkki.
 ES: compás polimétrico,
 I: ?,
 F: ?,
-D: ?,
+D: zusammengesetzte Taktart,
 NL: ?,
 DK: ?,
 S: ?,
@@ -3254,7 +3267,7 @@ indicate this information are called dynamic marks.
 ES: sinalefa,
 I: elisione,
 F: élision,
-D: ?,
+D: Elision,
 NL: ?,
 DK: ?,
 S: ?,
@@ -3506,7 +3519,7 @@ Double Bass).
 ES: caída [de tono],
 I: ?,
 F: chute,
-D: ?,
+D: Glissando zu unbestimmter Tonhöhe nach unten,
 NL: ?,
 DK: ?,
 S: ?,
@@ -3689,7 +3702,7 @@ g64-"64th" s8
 ES: armónico,
 I: ?,
 F: flageolet,
-D: ?,
+D: Flageolett,
 NL: ?,
 DK: ?,
 S: ?,
@@ -3782,11 +3795,11 @@ 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
@@ -3807,7 +3820,7 @@ 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: ?,
@@ -3977,8 +3990,7 @@ Notes printed in small types to indicate that their time values are not
 counted in the rhythm of the bar.
 
 @seealso
-@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
-@ref{ornament}.
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{mordent}, @ref{ornament}.
 
 
 @node grand staff
@@ -4215,11 +4227,11 @@ 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.
 
@@ -4287,7 +4299,7 @@ the same rhythm (more or less).  In contrast to @emph{polyphony}.
 ES: ?,
 I: ?,
 F: ?,
-D: ?,
+D: Silbenanzahl,
 NL: ?,
 DK: ?,
 S: ?,
@@ -4402,35 +4414,35 @@ 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
 
@@ -4525,14 +4537,14 @@ 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.
@@ -4551,7 +4563,7 @@ 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
@@ -4717,7 +4729,7 @@ FI: viiva, nuottiviiva.
 ES: en su lugar,
 I: loco,
 F: ?,
-D: ?,
+D: loco,
 NL: ?,
 DK: ?,
 S: ?,
@@ -4796,7 +4808,7 @@ FI: sidonta sanoituksessa.
 ES: letra (de la canción),
 I: testo,
 F: paroles,
-D: Liedtext, Gesangtext,
+D: Liedtext, Gesangstext,
 NL: liedtekst,
 DK: ?,
 S: ?,
@@ -4846,11 +4858,11 @@ 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}.
 
@@ -4965,7 +4977,7 @@ No cross-references.
 ES: línea de melisma,
 I: linea del melisma,
 F: trait de mélisme, trait de tenue,
-D: ?,
+D: Fülllinie,
 NL: ?,
 DK: ?,
 S: ?,
@@ -4990,7 +5002,7 @@ FI: melismaviiva.
 ES: notación mensural,
 I: notazione mensurale,
 F: notation mensurale,
-D: ?,
+D: Mensuralnotation,
 NL: ?,
 DK: ?,
 S: ?,
@@ -5037,7 +5049,7 @@ 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: ?,
@@ -5358,7 +5370,7 @@ 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: ?,
@@ -5414,7 +5426,7 @@ 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,
@@ -5520,6 +5532,7 @@ S: mordent,
 FI: mordent, korukuvio.
 
 @seealso
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
 @ref{ornament}.
 
 
@@ -5601,7 +5614,7 @@ 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]
@@ -5650,7 +5663,7 @@ FI: ?.
 
 @seealso
 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
-@ref{ornament}.
+@ref{mordent}, @ref{ornament}.
 
 
 @node ninth
@@ -5844,7 +5857,7 @@ 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: ?,
@@ -5978,7 +5991,8 @@ the @emph{prall} (inverted mordent).
 @end lilypond
 
 @seealso
-@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
+@ref{mordent}.
 
 
 @node ossia
@@ -6086,7 +6100,7 @@ FI: lyömäsoittimet.
 A family of musical instruments which are played on by striking or
 shaking.  Percussion instruments commonly used in a symphony orchestra are
 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
-tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
+tambourine, cymbals, Chinese gong (tam-tam), triangle, celesta, glockenspiel,
 and xylophone.
 
 @seealso
@@ -6235,7 +6249,7 @@ No cross-references.
 ES: compás polimétrico,
 I: polimetria,
 F: polymétrie,
-D: ?,
+D: Polymetrie,
 NL: ?,
 DK: ?,
 S: ?,
@@ -6260,7 +6274,7 @@ parts.
 ES: polimétrico,
 I: polimetrico,
 F: polymétrique,
-D: ?,
+D: polymetrisch,
 NL: ?,
 DK: ?,
 S: ?,
@@ -6279,7 +6293,7 @@ simultaneously or in alternation.
 ES: indicación de compás polimétrico,
 I: tempo polimetrico,
 F: ?,
-D: ?,
+D: zusammengesetzte Taktart,
 NL: ?,
 DK: ?,
 S: ?,
@@ -6316,12 +6330,21 @@ 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
 @ref{legato}.
 
+@node power chord
+@section power chord
+
+A chord containing only the root and the fifth (possibly in multiple
+octaves).  Commonly used in guitar music, particularly with electric
+guitar and high distortion.
+
+@seealso
+@ref{chord}.
 
 @node presto
 @section presto
@@ -6350,7 +6373,7 @@ No cross-references.
 ES: proporción,
 I: proporzione,
 F: proportion,
-D: ?,
+D: Proportio,
 NL: ?,
 DK: ?,
 S: ?,
@@ -6494,7 +6517,7 @@ FI: kvartoli.
 ES: variante [de acorde o intervalo],
 I: qualità (?),
 F: qualité (?),
-D: ?,
+D: Modus (Dur oder Moll),
 NL: ?,
 DK: ?,
 S: ?,
@@ -6504,7 +6527,7 @@ 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
@@ -6528,9 +6551,9 @@ 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
@@ -6809,10 +6832,8 @@ scale as roots of chords.  The most important are degrees I = tonic
 \new Staff \relative c' {
   c1 d e f g a b c
 }
- \lyrics {
-  << { I II III IV V VI VII I }
-     { T "" ""  S  D } >>
-}
+ \lyrics { I II III IV V VI VII I }
+ \lyrics { T "" ""  S  D }
 >>
 @end lilypond
 
@@ -6908,7 +6929,7 @@ 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,
@@ -7017,7 +7038,7 @@ FI: korotusmerkki.
 ES: simile, similar,
 I: simile,
 F: simile,
-D: ?,
+D: simile, gleichartig,
 NL: ?,
 DK: ?,
 S: ?,
@@ -7037,7 +7058,7 @@ 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: ?,
@@ -7204,7 +7225,7 @@ FI: sonaatti.
 
 In its present-day meaning a sonata denotes an instrumental
 composition for piano or for some other instrument with piano
-accompaniment, which consists of three or four independant pieces,
+accompaniment, which consists of three or four independent pieces,
 called movements.
 
 @seealso
@@ -7312,8 +7333,12 @@ lines upon and between which the musical notes are written, thus
 indicating (in connection with a @ref{clef}) their pitch.  Staves for
 @ref{percussion} instruments may have fewer lines.
 
+@lilypond[quote,relative=1]
+c4 e g c
+@end lilypond
+
 @seealso
-No cross-references.
+@ref{system}.
 
 
 @node staves
@@ -7356,7 +7381,7 @@ whole note.
 ES: stringendo, acelerando,
 I: stringendo,
 F: stringendo, en accélérant,
-D: ?,
+D: stringendo,
 NL: ?,
 DK: ?,
 S: ?,
@@ -7599,10 +7624,11 @@ 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.
+The collection of staves (@notation{staff}), two or more, as used
+for writing down keyboard, chamber, choral, or orchestral music;
+a section of the score spanning the width of a single page.
 
 @seealso
 @ref{staff}.
@@ -7857,7 +7883,7 @@ The first @notation{scale degree}.
 ES: instrumento transpositor,
 I: strumento traspositore,
 F: instrument transpositeur,
-D: ?,
+D: transponierende Instrumente,
 NL: ?,
 DK: ?,
 S: ?,
@@ -8023,7 +8049,7 @@ 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,
@@ -8075,7 +8101,7 @@ 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
@@ -8091,7 +8117,7 @@ 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: ?,
@@ -8196,7 +8222,7 @@ No cross-references.
 ES: vez, primera y segunda vez,
 I: volta,
 F: volta, fois,
-D: ?,
+D: volta-Klammer, Wiederholungsklammer,
 NL: ?,
 DK: ?,
 S: ?,
@@ -8724,6 +8750,134 @@ send it to me, care of the lilypond-user discussion list.
 @end multitable
 
 
+@node Non-Western terms A-Z
+@chapter Non-Western terms A-Z
+
+@menu
+* bayati::
+* iraq::
+* kurd::
+* makam::
+* makamlar::
+* maqam::
+* rast::
+* semai::
+* sikah::
+* taqasim::
+@end menu
+
+
+@node bayati
+@section bayati
+
+@c TODO
+This is a stub for @code{bayati}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic key signatures}.
+
+
+@node iraq
+@section iraq
+
+@c TODO
+This is a stub for @code{iraq}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic key signatures}.
+
+
+@node kurd
+@section kurd
+
+@c TODO
+This is a stub for @code{kurd}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic key signatures}.
+
+
+@node makam
+@section makam
+
+@c TODO
+This is a stub for @code{makam}.
+
+@seealso
+Notation Reference:
+@ruser{Turkish classical music}.
+
+
+@node makamlar
+@section makamlar
+
+@c TODO
+This is a stub for @code{makamlar}.
+
+@seealso
+Notation Reference:
+@ruser{Turkish classical music}.
+
+
+@node maqam
+@section maqam
+
+@c TODO
+This is a stub for @code{maqam}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic music},
+@ruser{Arabic key signatures}.
+
+
+@node rast
+@section rast
+
+@c TODO
+This is a stub for @code{rast}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic key signatures}.
+
+
+@node semai
+@section semai
+
+@c TODO
+This is a stub for @code{semai}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic key signatures}.
+
+
+@node sikah
+@section sikah
+
+@c TODO
+This is a stub for @code{sikah}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic key signatures}.
+
+
+@node taqasim
+@section taqasim
+
+@c TODO
+This is a stub for @code{taqasim}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic key signatures}.
+
+
 @node Literature used
 @appendix Literature used