X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fmusic-glossary.tely;h=fba2e58da830eb3c1910c103c4fcaf7924251a87;hb=e0f3be42e16458e44183c142561ccdd05aa1bfb9;hp=306d0504d80c4d837d1f3bf39c4b0eb1969906dd;hpb=6969857be1e7c53290dbb4ee0e689d40af36a32e;p=lilypond.git

diff --git a/Documentation/music-glossary.tely b/Documentation/music-glossary.tely
index 306d0504d8..fba2e58da8 100644
--- a/Documentation/music-glossary.tely
+++ b/Documentation/music-glossary.tely
@@ -598,7 +598,7 @@ An accidental alters a note by:
     \context {
       \Score
       \override SpacingSpanner
-        #'base-shortest-duration = #(ly:make-moment 1 32)
+        #'base-shortest-duration = #(ly:make-moment 1/32)
     }
   }
 }
@@ -683,7 +683,7 @@ Since one does not crescendo @emph{to} nothing, it is not correct to use
 @section alla breve
 
 ES: alla breve,
-I: ?,
+I: alla breve,
 F: alla breve, à la brève,
 D: Allabreve, alla breve
 NL: ?,
@@ -1606,7 +1606,7 @@ DK: akkord,
 S: ackord,
 FI: sointu.
 
-Three or more tones sounding simultaneously.  In traditional European music
+Two or more tones sounding simultaneously.  In traditional European music
 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
@@ -1616,7 +1616,7 @@ define their mood are a special case called @q{open chords}.  The lack of
 the middle third means their quality is ambivalent -- neither major nor
 minor.
 
-@lilypond[quote,notime,line-width=13.0\cm]
+@lilypond[quote,notime]
 <<
   \new Staff {
     \relative c'' {
@@ -1634,8 +1634,8 @@ minor.
     "minor  "
     "diminished  "
     "augmented  "
-    "seventh-chord  "
-    "ninth-chord"
+    "seventh  "
+    "ninth"
   }
 >>
 @end lilypond
@@ -1782,7 +1782,7 @@ the top line high F:
     \context {
       \Score
       \override SpacingSpanner
-        #'base-shortest-duration = #(ly:make-moment 1 1)
+        #'base-shortest-duration = #(ly:make-moment 1/1)
       \override  NonMusicalPaperColumn
         #'line-break-system-details = #'((alignment-distances . (3 3)))
       \override BarLine #'stencil = ##f
@@ -1843,7 +1843,7 @@ have been selected:
     \context {
       \Score
       \override SpacingSpanner
-        #'base-shortest-duration = #(ly:make-moment 2 1)
+        #'base-shortest-duration = #(ly:make-moment 2/1)
       \override  NonMusicalPaperColumn
         #'line-break-system-details = #'((alignment-distances . (3 3)))
       \override BarLine #'stencil = ##f
@@ -1906,7 +1906,7 @@ shown below, where the notes show an arpeggio on a C major chord.
     \context {
       \Score
       \override SpacingSpanner #'base-shortest-duration =
-        #(ly:make-moment 2 1)
+        #(ly:make-moment 2/1)
       \override  NonMusicalPaperColumn
         #'line-break-system-details = #'((alignment-distances . (3 3)))
       \override BarLine #'stencil = ##f
@@ -1998,7 +1998,7 @@ Another name for @ref{common time}.
 @section Common Practice Period
 
 ES: ?,
-I: ?,
+I: Periodo di pratica comune,
 F: ?,
 D: Kunstmusik,
 NL: ?,
@@ -2089,7 +2089,7 @@ A meter that includes a triplet subdivision within the beat, such as
 @section compound time
 
 ES: compás compuesto, compás de amalgama (def. 2),
-I: ?,
+I: tempo misto,
 F: temps composé,
 D: zusammengesetzte Taktart,
 NL: ?,
@@ -2865,7 +2865,7 @@ FI: dissonanssi, dissonoiva intervalli, riitasointi.
 @section divisio
 
 ES: división,
-I: ?,
+I: divisio,
 F: ?,
 D: Divisio,
 NL: ?,
@@ -2900,7 +2900,7 @@ No cross-references.
 @section doit
 
 ES: elevación [de tono],
-I: ?,
+I: portamento indeterminato verso l'alto/l'acuto,
 F: saut,
 D: Glissando zu unbestimmter Tonhöhe,
 NL: ?,
@@ -3099,7 +3099,7 @@ FI: kaksoisylennysmerkki.
 @section double time signature
 
 ES: compás polimétrico,
-I: ?,
+I: indicazione di tempo doppia/polimetrica,
 F: ?,
 D: zusammengesetzte Taktart,
 NL: ?,
@@ -3519,7 +3519,7 @@ Double Bass).
 @section fall
 
 ES: caída [de tono],
-I: ?,
+I: portamento indeterminato verso il basso/il grave,
 F: chute,
 D: Glissando zu unbestimmter Tonhöhe nach unten,
 NL: ?,
@@ -3538,7 +3538,7 @@ Indicator for a indeterminately falling pitch bend.  Compare with
 @section feathered beam
 
 ES: barra progresiva,
-I: ?,
+I: travatura convergente/divergente,
 F: ligature en soufflet, lien de croches en soufflet,
 D: gespreizter Balken,
 NL: ?,
@@ -3702,7 +3702,7 @@ g64-"64th" s8
 @section flageolet
 
 ES: armónico,
-I: ?,
+I: armonico,
 F: flageolet,
 D: Flageolett,
 NL: ?,
@@ -3795,7 +3795,7 @@ FI: kvartti.
 @section Frenched score
 
 ES: partitura a la francesa,
-I: ?,
+I: partitura senza i righi vuoti,
 F: ?,
 D: Orchesterpartitur ohne leere Systeme,
 NL: ?,
@@ -3820,7 +3820,7 @@ you may wish to procure a copy of their style manual.
 @section Frenched staff
 
 ES: pentagrama a la francesa,
-I: ?,
+I: rigo temporaneo,
 F: ?,
 D: zeitweiliges Notensystem,
 NL: ?,
@@ -3956,7 +3956,7 @@ part in modern choral scores).
 @lilypond[quote,notime]
 \relative c'' {
   \override Staff.Clef #'full-size-change = ##t
-    \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
+    \set Score.proportionalNotationDuration = #(ly:make-moment 1/8)
     \clef french
     g1
     \clef treble
@@ -4319,7 +4319,7 @@ the same rhythm (more or less).  In contrast to @emph{polyphony}.
 @section hymn meter
 
 ES: ?,
-I: ?,
+I: metrica dell'inno,
 F: ?,
 D: Silbenanzahl,
 NL: ?,
@@ -4360,7 +4360,7 @@ No cross-references.
 @section incomplete dominant seventh chord
 
 ES: ?,
-I: ?,
+I: accordo di settima dominante incompleto,
 F: ?,
 D: verkürzter Dominantseptakkord,
 NL: ?,
@@ -4393,7 +4393,7 @@ are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
 and are called @emph{tritonus} because they consist of three whole tones.
 The addition of such two intervals forms an octave.
 
-@lilypond[quote,notime,line-width=13.0\cm]
+@lilypond[quote]
 <<
 \context Voice \relative c'' {
 % Prime or unison
@@ -4416,7 +4416,7 @@ The addition of such two intervals forms an octave.
 % Fifth
   < g des' >^"dim"
   < g d' >^"per"
-  < g dis >^"aug"
+  < g dis' >^"aug"
 % Sixth
   < gis es' >^"dim"
   < g! es' >^"min"
@@ -4714,7 +4714,7 @@ notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
 @section ligature
 
 ES: ligadura,
-I: ?,
+I: ligatura,
 F: ligature,
 DE: Ligatur,
 NL: ?,
@@ -4837,7 +4837,7 @@ g\longa g\breve
 @section lyric tie
 
 ES: ligadura de letra,
-I: ?,
+I: legatura del testo,
 F: ligature de mots,
 D: Textbindung,
 NL: ?,
@@ -5096,7 +5096,7 @@ TODO: add to definition (including summary info on proportional notation)
 @c TODO: add languages
 
 ES: signo de mensuración,
-I: ?,
+I: indicazione mensurale,
 F: signe de mensuration,
 D: Mensurzeichen,
 NL: ?,
@@ -5702,7 +5702,7 @@ FI: palautusmerkki.
 @c TODO: add definition.
 
 ES: tonos vecinos,
-I: ?,
+I: nota di volta,
 F: tons voisins,
 D: ?,
 NL: ?,
@@ -5853,17 +5853,17 @@ dotted notes are also frequently used.
 @lilypond[quote,line-width=13.0\cm]
 \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 "||"
+  \tuplet 3/2 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
+  \tuplet 5/2 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
 }
 @end lilypond
 
 @lilypond[quote,line-width=13.0\cm]
 \relative c'' {
   \time 3/4
-  \times 3/2 {g4_"duplets" g} |
+  \tuplet 2/3 {g4_"duplets" g} |
   g4 g g \bar "||"
-  \times 6/4 {g8_"quadruplets" g g g} |
+  \tuplet 4/6 {g8_"quadruplets" g g g} |
   g8 g g g g4 \bar "||"
 }
 @end lilypond
@@ -6014,7 +6014,7 @@ the upper note is played first.
   }
   \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
+    c2. b32 c b c \tuplet 5/4 { b c b c b } | c1
   }
 >>
 @end lilypond
@@ -7110,7 +7110,7 @@ TODO: Where else could I refer the reader?
 @section simple meter
 
 ES: compás simple, compás de subdivisión binaria,
-I: ?,
+I: tempo semplice,
 F: mesure binaire,
 D: grader Takt,
 NL: ?,