X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fmusic-glossary.tely;h=0220f410491b54f772b4337c3e24bc774e830f6a;hb=d8c103f73dec7a61da04f3be0ffa6a790660fb52;hp=f7c087a60627945a3ed42fdde1b79c2fb7d22e8c;hpb=e1d9de1db6131fe933516324e81d50c01dbfcf3d;p=lilypond.git

diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely
index f7c087a606..0220f41049 100644
--- 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,
@@ -70,7 +73,7 @@ German glossary,
 Original author of LilyPond glossary, Danish glossary,
 @item David González
 Spanish glossary,
-@item Fran@,{c}ois Pinard
+@item François Pinard
 Original glossary of GNU music project, French glossary,
 @item Han-Wen Nienhuys
 Dutch glossary,
@@ -147,10 +150,12 @@ Languages in this order.
 * alto::                        
 * alto clef::                   
 * ambit::                       
+* anacrusis::                   
 * ancient minor scale::         
 * andante::                     
 * appoggiatura::                
 * arpeggio::                    
+* articulation::                
 * ascending interval::          
 * augmented interval::          
 * autograph::                   
@@ -307,6 +312,7 @@ Languages in this order.
 * ornament::                    
 * ossia::                       
 * part::                        
+* pause::                       
 * pennant::                     
 * percussion::                  
 * perfect interval::            
@@ -454,6 +460,7 @@ accidental.
 \set Score.automaticBars = ##f
 << 
   \context Staff \relative c'' {
+    \set Staff.extraNatural = ##f
     gis1 gisis ges geses g!
   }
   \lyrics {
@@ -573,6 +580,15 @@ 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
 the pitch range that a musical instrument is capable of playing.
 
+@node anacrusis
+@section anacrusis
+
+@c  TODO: add more languages for anacrusis
+F: anacrouse
+
+An anacrusis (also known as pickup or upbeat) is an incomplete measure
+of music before a section of music.
+
 @node ancient minor scale
 @section ancient minor scale
 
@@ -612,7 +628,7 @@ Walking tempo/character.
 
 ES: apoyatura,
 I: appoggiatura,
-F: appogiature, (port de voix),
+F: appoggiature, (port de voix),
 D: Vorschlag,
 NL: voorslag,
 DK: forslag,
@@ -698,6 +714,15 @@ FI: arpeggio, murtosointu.
 >>
 @end lilypond
 
+@node articulation
+@section articulation
+
+@c TODO: add languages for articulation.
+Articulation refers to notation which indicates how a note or notes should
+be played.  Slurs, accents, staccato, and legato are all examples of
+articulartion.
+
+
 @node ascending interval
 @section ascending interval
 
@@ -731,7 +756,7 @@ FI: ylinouseva intervalli.
 
 ES: manuscrito,
 I: autografo,
-F: manuscrit,
+F: manuscrit, autographe
 D: Autograph, Handschrift,
 NL: manuscript,
 DK: håndskrift, autograf,
@@ -1115,6 +1140,7 @@ chords are denoted open chords
 %\override TextScript #'font-style = #'large
 <<
 \context Staff \relative c'' {
+  \set Staff.extraNatural = ##f
   <g b d>1 
   <g bes d>
   <g bes des>
@@ -1345,6 +1371,7 @@ 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 +1443,7 @@ 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
@@ -1441,6 +1468,9 @@ when to start playing.  Usually printed in a smaller type.
 @node custos
 @section custos
 
+F: guidon,
+D: Notenzeiger.
+
 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
 anticipates the pitch of the first note of the following line and thus
@@ -1498,7 +1528,7 @@ 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 +1542,7 @@ 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 +1570,7 @@ 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 +1793,7 @@ FI: diminuendo, hiljentyen.
 @node disjunct movement
 @section disjunct movement
 
-ES: movimiendo disjunto,
+ES: movimiento disjunto,
 I: moto disgiunto,
 F: mouvement disjoint,
 D: sprunghafte Bewegung,
@@ -2214,7 +2244,7 @@ symbol indicates playing an octave lower (for example on double bass
 
 ES: calderón,
 I: corona,
-F: point d'orgue, point d'arr@^et,
+F: point d'orgue, point d'arrêt,
 D: Fermate,
 NL: fermate,
 DK: fermat,
@@ -2596,7 +2626,7 @@ 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 +2733,7 @@ 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 +2836,7 @@ 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 +2884,7 @@ unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
     c4-. d-. e-. \bar "||"
   }
   \lyrics {
-    a1
+    a2.
     b
     c
     d
@@ -2957,7 +2987,7 @@ Note value: double length of @aref{breve}.
 
 ES: letra (de la canción),
 I: .,
-F: .,
+F: paroles,
 D: Liedtext,
 NL: liedtekst,
 DK: .,
@@ -3048,6 +3078,7 @@ harmony}, @aref{relative key}.
 @section melisma
 
 ES: melisma,
+F: mélisme,
 NL: melisma,
 FI: melisma, laulettavan tavun sävelkuvio.
 
@@ -3064,7 +3095,7 @@ syllable in plainsong
 
 ES: compás,
 I: tempo, metro,
-F: indication de mésure,
+F: indication de mesure, mesure,
 D: Taktart, Metrum,
 NL: maatsoort,
 DK: taktart,
@@ -3267,8 +3298,8 @@ subject.
 @lilypond[line-width=13.0\cm]
 \score{
 \relative c'' {
+  \set Score.implicitTimeSignatureVisibility = #all-invisible
   \override Score.TimeSignature #'break-visibility = #all-invisible
-  %\override Score.TextScript #'font-style = #'large
   \time 4/4
   \key g \major
   \partial 8 g16\startGroup fis |
@@ -3384,7 +3415,7 @@ and hears a tone.
 
 ES: cabeza,
 I: testa, testina, capocchia,
-F: t@^ete de la note,
+F: tête de la note,
 D: Notenkopf,
 NL: nootballetje,
 DK: nodehovede,
@@ -3580,6 +3611,11 @@ FI: stemma, instrumenttiosuus.
 or voice.  2.@tie{}in contrapuntal music @aref{counterpoint} the single
 melodic line of the contrapunctal web.
 
+@node pause
+@section pause
+
+@ref{fermata}
+
 @node pennant
 @section pennant
 
@@ -4230,7 +4266,7 @@ 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
@@ -4524,7 +4560,7 @@ intervals.  @aref{meantone temperament}, @aref{equal temperament}.
 
 ES: indicación de tempo,
 I: indicazione di tempo,
-F: indication de temps,
+F: indication de tempo,
 D: Zeitmaß, Tempobezeichnung,
 NL: tempo aanduiding,
 DK: tempobetegelse,
@@ -4628,7 +4664,7 @@ FI: kolmanneskymmeneskahdesosatauko.
 
 ES: bajo cifrado,
 I: basso continuo, basso numerato,
-F: basse chiffrée,
+F: basse chiffrée, basse continue,
 D: Generalbass, bezifferter Bass,
 NL: basso continuo, becijferde bas
 DK: generalbas,
@@ -4695,7 +4731,7 @@ uniting them into a single sound (tone) equal to the combined durations.
 
 ES: indicación de compás,
 I: segni di tempo,
-F: chiffrage (chiffres indicateurs), signe de valeur,
+F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
 D: Taktangabe, Angabe der Taktart,
 NL: maatsoort,
 DK: taktangivelse,