X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fmusic-glossary.tely;h=ce272a98574823305ebe93253a250ccdca579c4a;hb=c6353d960e84a5ff11c480df498b80d14831c529;hp=879016f0fdb6834d6da1ec9b7dfff7ec47909c3d;hpb=23da077a4d394f073cd8e2a89cc48472f900fe5f;p=lilypond.git

diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely
index 879016f0fd..ce272a9857 100644
--- a/Documentation/user/music-glossary.tely
+++ b/Documentation/user/music-glossary.tely
@@ -1,18 +1,20 @@
-\input texinfo @c -*- coding: utf8; mode: texinfo; -*-
+\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
 @setfilename music-glosssary.info
 @settitle Music Glossary
 
-@documentencoding utf-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
 
 @ifhtml
-This document is also available in @uref{source/Documentation/user/music-glossary.pdf,PDF}
-and as @uref{source/Documentation/user/music-glossary.html,one big page}.
+This document is also available in
+@uref{source/Documentation/user/music-glossary.pdf,PDF}
+and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
 @end ifhtml
 
 @titlepage
@@ -23,7 +25,7 @@ and as @uref{source/Documentation/user/music-glossary.html,one big page}.
 @c                             French glossary
 @author Han-Wen Nienhuys    @c Dutch glossary
 @author Jan Nieuwenhuizen   @c Dutch glossary
-@author Dadiv Gonzalez      @c Spanish glossary
+@author David González      @c Spanish glossary
 @author Bjoern Jacke        @c German glossary
 @author Neil Jerram         @c English glossary translations
 @author Mats Bengtsson      @c Swedish glossary
@@ -32,14 +34,14 @@ and as @uref{source/Documentation/user/music-glossary.html,one big page}.
 
 @c Fixes by Jean-Pierre Coulon and `Dirk'
 
-Copyright @copyright{} 1999--2005 by the authors
+Copyright @copyright{} 1999--2007 by the authors
 
 
   Permission is granted to copy, distribute and/or modify this document
   under the terms of the GNU Free Documentation License, Version 1.1
   or any later version published by the Free Software Foundation,
   without Invariant Sections.
-  
+
 @end titlepage
 
 
@@ -57,9 +59,11 @@ Copyright @copyright{} 1999--2005 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,
@@ -67,9 +71,9 @@ Italian glossary,
 German glossary,
 @item Christian Mondrup
 Original author of LilyPond glossary, Danish glossary,
-@item Dadiv Gonzalez
+@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,
@@ -83,7 +87,7 @@ English glossary translations,
 Finnish glossary translations.
 @end table
 @*
-Copyright 1999--2005 by the authors
+Copyright 1999--2007 by the authors
 
 
   Permission is granted to copy, distribute and/or modify this document
@@ -104,10 +108,10 @@ Copyright 1999--2005 by the authors
 @c arrowref
 @macro aref{word}
 @iftex
-@w{@arrow{}@strong{\word\}}@c
+@w{@expansion{}@strong{\word\}}@c
 @end iftex
 @ifnottex
-@arrow{}@ref{\word\, @strong{\word\}}@c
+@expansion{}@ref{\word\, @strong{\word\}}@c
 @end ifnottex
 @end macro
 
@@ -146,10 +150,12 @@ Languages in this order.
 * alto::                        
 * alto clef::                   
 * ambit::                       
+* anacrusis::                   
 * ancient minor scale::         
 * andante::                     
 * appoggiatura::                
 * arpeggio::                    
+* articulation::                
 * ascending interval::          
 * augmented interval::          
 * autograph::                   
@@ -306,6 +312,7 @@ Languages in this order.
 * ornament::                    
 * ossia::                       
 * part::                        
+* pause::                       
 * pennant::                     
 * percussion::                  
 * perfect interval::            
@@ -434,7 +441,7 @@ The stress of one tone over others.
 @node accidental
 @section accidental
 
-ES: alteración accidentelle,
+ES: alteración accidental,
 I: accidento,
 F: altération accidentelle,
 D: Vorzeichen, Versetzungszeichen, Akzidenz,
@@ -451,21 +458,22 @@ accidental.
 
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f
-%\override TextScript #'font-style = #'large
-\oldaddlyrics
-\context Staff \relative c'' {
-  gis1 gisis ges geses g!
-}
-\context Lyrics \lyrics {
-  \override Lyrics .LyricText #'self-alignment-X = #-1
-  sharp "db. sharp" flat "db. flat" natural
-}
+<< 
+  \context Staff \relative c'' {
+    \set Staff.extraNatural = ##f
+    gis1 gisis ges geses g!
+  }
+  \lyrics {
+    \override Lyrics .LyricText #'self-alignment-X = #-1
+    sharp "db. sharp" flat "db. flat" natural
+  }
+>>
 @end lilypond
 
 @node accelerando
 @section accelerando
 
-ES: acelerando,
+ES: accelerando,
 I: accelerando,
 F: accelerando, en accélérant,
 D: accelerando, schneller werden,
@@ -515,7 +523,7 @@ tempo, especially the first and last movements of a @aref{sonata}.
 ES: alteración,
 I: alterazione
 F: altération
-D: 
+D:
 NL: verhoging of verlaging,
 DK:
 S:
@@ -559,7 +567,7 @@ C clef setting middle C on the middle line of the staff
 @node ambit
 @section ambit
 
-ES: ambitus,
+ES: ámbito,
 I: ambitus,
 F: ambitus,
 D: ambitus,
@@ -572,9 +580,20 @@ 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
+ES: anacrusa
+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
 
+ES: escala menor antigua,
 I: scala minore naturale,
 F: forme du mode mineur ancien, troisème mode, mode hellénique
 D: reines Moll,
@@ -610,7 +629,7 @@ Walking tempo/character.
 
 ES: apoyatura,
 I: appoggiatura,
-F: appogiature, (port de voix),
+F: appoggiature, (port de voix),
 D: Vorschlag,
 NL: voorslag,
 DK: forslag,
@@ -696,10 +715,19 @@ 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
 
-ES: Intervalo ascendente,
+ES: intervalo ascendente,
 I: intervallo ascendente,
 F: intervalle ascendant,
 D: steigendes Intervall,
@@ -727,8 +755,9 @@ FI: ylinouseva intervalli.
 @node autograph
 @section autograph
 
+ES: manuscrito,
 I: autografo,
-F: manuscrit,
+F: manuscrit, autographe
 D: Autograph, Handschrift,
 NL: manuscript,
 DK: håndskrift, autograf,
@@ -761,12 +790,12 @@ FI: H, h.
 @node bar
 @section bar
 
-ES: compás, @aref{measure}.
+@aref{measure}.
 
 @node bar line
 @section bar line
 
-ES: ?,
+ES: barra, línea divisoria,
 I: stanghetta, barra (di divisione),
 F: barre (de mesure),
 D: Taktstrich,
@@ -825,6 +854,7 @@ A clef setting with middle C on the first top ledger line.
 @node bass
 @section bass
 
+ES: bajo,
 I: basso,
 F: basse,
 D: Bass,
@@ -841,6 +871,7 @@ an abbreviation for double bass.
 @node beam
 @section beam
 
+ES: barra
 I: coda,
 F: barre,
 D: Balken,
@@ -865,7 +896,7 @@ The number of beams determines the note value of the connected notes.
 @node beat
 @section beat
 
-ES: tiempo,
+ES: tiempo, parte (de compás)
 I: tempi,
 F: temps,
 D: Takt, Taktschlag, Zeit (im Takt),
@@ -939,6 +970,7 @@ trumpet, trombone, french horn, and tube.
 @node breath mark
 @section breath mark
 
+ES: respiración,
 I: respiro,
 F: respiration,
 D: Atemzeichen, Trennungszeichen,
@@ -951,7 +983,7 @@ Indication of where to breathe in vocal and wind instrument parts.
 @node breve
 @section breve
 
-ES: breve,
+ES: cuadrada, breve,
 I: breve,
 F: brève,
 D: Brevis,
@@ -983,7 +1015,7 @@ FI: C, c.
 @node C clef
 @section C clef
 
-ES: Clave de do,
+ES: clave de do,
 I: chiave di do,
 F: clé d'ut,
 D: C-Schlüssel,
@@ -998,19 +1030,19 @@ lines.
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f
 \override Score.Clef #'full-size-change = ##t
-%\override Score.LyricText #'font-style = #'large
-\oldaddlyrics
-\context Staff \relative c' {
-  \clef soprano c1 s s
-  \clef mezzosoprano c s s
-  \clef alto c s s
-  \clef tenor c s s
-  \clef baritone c s s
-}
-\context Lyrics \lyrics {
-  \override Lyrics .LyricText #'self-alignment-X = #-1
-  "Soprano  " "Mezzosoprano  " "Alto  " "Tenor  " Baritone
-}
+<<
+  \context Staff \relative c' {
+    \clef soprano c1 
+    \clef mezzosoprano c 
+    \clef alto c 
+    \clef tenor c 
+    \clef baritone c 
+  }
+  \context Lyrics \lyrics {
+    \override Lyrics .LyricText #'self-alignment-X = #-1
+    "Soprano  " "Mezzosoprano  " "Alto  " "Tenor  " Baritone
+  }
+>>
 @end lilypond
 
 @node cadence
@@ -1069,7 +1101,8 @@ D: Cent,
 NL: cent,
 DK: cent,
 S: cent,
-FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä.
+FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
+viritysjärjestelmässä.
 
 Logarithmic unit of measurement.  1@tie{}cent is 1/1200 of an octave (1/100
 of an equally tempered @aref{semitone}).
@@ -1092,8 +1125,10 @@ DK: akkord,
 S: ackord,
 FI: sointu.
 
-Three or more tones sounding simultaneously.  In traditional European music the
-base chord is a @emph{triad} consisting of 2@w{ }thirds.  @emph{Major} (major +
+Three or more tones sounding simultaneously.  In traditional European music
+the
+base chord is a @emph{triad} consisting of 2@w{ }thirds.  @emph{Major} (major
++
 minor @aref{third}) as well as @emph{minor} (minor + major third)
 chords may be extended with more thirds.  Four-tone @emph{seventh chords}
 and five-tone @emph{ninth} major chords are most often used as dominants
@@ -1104,16 +1139,17 @@ chords are denoted open chords
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f
 %\override TextScript #'font-style = #'large
-\oldaddlyrics
+<<
 \context Staff \relative c'' {
-  <g b d>1 s s
-  <g bes d> s s
-  <g bes des> s s
-  <g b dis> s s
-  <g b d f> s s
-  <g b d f a> s s
+  \set Staff.extraNatural = ##f
+  <g b d>1 
+  <g bes d>
+  <g bes des>
+  <g b dis> 
+  <g b d f> 
+  <g b d f a> 
 }
-\context Lyrics \lyrics{
+\lyrics{
   "major  "
   "minor  "
   "diminished  "
@@ -1121,6 +1157,7 @@ chords are denoted open chords
   "seventh-chord  "
   ninth-chord
 }
+>>
 @end lilypond
 
 @node chromatic scale
@@ -1187,6 +1224,8 @@ FI: avain, nuottiavain.
 @node cluster
 @section cluster
 
+ES: racimo.
+
 A @emph{cluster} is a range of simultaneously sounding pitches that
 may change over time.  The set of available pitches to apply usually
 depends on the acoustic source.  Thus, in piano music, a cluster
@@ -1216,6 +1255,7 @@ pitch contained in the cluster would be notated as an ordinary note.
 @node comma
 @section comma
 
+ES: coma, comma,
 I: comma,
 F: comma,
 D: Komma,
@@ -1251,6 +1291,7 @@ Intervals larger than an octave.
 @node complement
 @section complement
 
+ES: intervalo invertido,
 I: rivolto,
 F: intervalle complémentaire,
 D: Komplementärintervall,
@@ -1331,6 +1372,7 @@ 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' {
@@ -1402,7 +1444,7 @@ 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
@@ -1412,7 +1454,7 @@ abbreviation ``cresc.''.
 @node cue-notes
 @section cue-notes
 
-ES: notas guia,
+ES: notas guía,
 I: notine,
 F: petites notes précédent l'entrée d'in instrument, réplique,
 D: Stichnoten,
@@ -1427,6 +1469,9 @@ 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
@@ -1458,11 +1503,11 @@ of the 20th century
   }
 }
 @end lilypond
-  
+
 @node D
 @section D
 
-ES: Re,
+ES: re,
 I: re,
 F: ré,
 D: D, d,
@@ -1484,7 +1529,7 @@ 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
@@ -1498,7 +1543,7 @@ 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]
@@ -1526,7 +1571,7 @@ 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'' {
@@ -1572,7 +1617,7 @@ music but also to some extent in newer jazz music.
 \set Score.automaticBars = ##f
 %\override Score.LyricText #'font-style = #'large
 %\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
   \context Staff \relative c' {
     c1 d
     \override TextScript #'padding = #-4
@@ -1581,79 +1626,77 @@ music but also to some extent in newer jazz music.
   \context Lyrics \lyrics {
     Ionian
   }
+>>
 @end lilypond
 
 @lilypond[fragment,notime,ragged-right]
 \set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
   \context Staff \relative c' {
     d1
     \override TextScript #'padding = #-4
     e^"~~ S" f g a b^"~~ S" c d
   }
-  \context Lyrics \lyrics {
+  \lyrics {
     Dorian
   }
+>>
 @end lilypond
 
 @lilypond[fragment,notime,ragged-right]
 \set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
   \relative c' {
     \override TextScript #'padding = #-4
     e1^"~~ S" f g a b^"~~ S" c d e
   }
-  \context Lyrics \lyrics {
+  \lyrics {
     Phrygian
   }
+>>
 @end lilypond
 
 @lilypond[fragment,notime,ragged-right]
 \set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
   \relative c' {
     f1 g a
     \override TextScript #'padding = #-4
     b^"~~ S" c d e^"~~ S" f
   }
-  \context Lyrics \lyrics {
+  \lyrics {
     Lydian
   }
+>>
 @end lilypond
 
 @lilypond[fragment,notime,ragged-right]
 \set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
   \relative c'' {
     g1 a
     \override TextScript #'padding = #-4
     b^"~~ S" c d e^"~~ S" f g }
-  \context Lyrics \lyrics {
+  \lyrics {
     Mixolydian
   }
+>>
 @end lilypond
 
 @lilypond[fragment,notime,ragged-right]
 \set Score.automaticBars = ##f
 %\override Score.LyricText #'font-style = #'large
 %\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
   \relative c'' {
     a1
     \override TextScript #'padding = #-4
     b^"~~ S" c d e^"~~ S" f g a
   }
-  \context Lyrics \lyrics {
+  \lyrics {
     Aeolian
   }
+>>
 @end lilypond
 
 From the beginning of the 17th century the scales used in European
@@ -1663,39 +1706,35 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
 
 @lilypond[fragment,notime,ragged-right]
 \set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
   \relative c' {
     c1 d
     \override TextScript #'padding = #-4
     e^"~~ S" f g a b^"~~ S" c
   }
-  \context Lyrics \lyrics {
+ \lyrics {
     Major
   }
+>>
 @end lilypond
 
 @lilypond[fragment,notime,ragged-right]
 \set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
   \relative c'' {
     a1
     \override TextScript #'padding = #-4
     b^"~~ S" c d e^"~~ S" f g a
   }
-  \context Lyrics \lyrics {
+ \lyrics {
     "ancient minor"
   }
+>>
 @end lilypond
 
 @lilypond[fragment,notime,ragged-right]
 \set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
   \relative c'' {
     a1
     \override TextScript #'padding = #-4
@@ -1704,28 +1743,30 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
   \context Lyrics \lyrics {
     "Harmonic minor"
   }
+>>
 @end lilypond
 
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f
 %\override Score.LyricText #'font-style = #'large
 %\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
   \relative c'' {
     a1
     \override TextScript #'padding = #-4
     b^"~~ S" c d e fis gis^"~~ S"
     a g! f!^"~~ S" e d c^"~~ S" b a
   }
-  \context Lyrics \lyrics {
+   \lyrics {
     "Melodic minor"
   }
+>>
 @end lilypond
 
 @node diminished interval
 @section diminished interval
 
-ES: intervalo disminuído,
+ES: intervalo disminuido,
 I: intervallo diminuito,
 F: intervalle diminué,
 D: vermindertes Intervall,
@@ -1753,7 +1794,7 @@ FI: diminuendo, hiljentyen.
 @node disjunct movement
 @section disjunct movement
 
-ES: movimiendo disjunto,
+ES: movimiento disjunto,
 I: moto disgiunto,
 F: mouvement disjoint,
 D: sprunghafte Bewegung,
@@ -1762,7 +1803,7 @@ DK: springende bevægelse,
 S: hoppande rörelse,
 FI: melodian hyppivä liike.
 
-Progressing melodically by intervals larger than a major second.  
+Progressing melodically by intervals larger than a major second.
 Opposite of @aref{conjunct movement}.
 
 @lilypond[fragment,ragged-right]
@@ -1782,7 +1823,7 @@ Opposite of @aref{conjunct movement}.
 @node dissonant interval
 @section dissonant interval
 
-ES: intervalo disonante, disonancias,
+ES: intervalo disonante, disonancia,
 I: intervallo dissonante, dissonanza,
 F: dissonance,
 D: Dissonanz,
@@ -1796,6 +1837,7 @@ FI: dissonanssi, dissonoiva intervalli, riitasointi.
 @node dominant ninth chord
 @section dominant ninth chord
 
+ES: acorde de novena de dominante,
 I: accordo di nona di dominante,
 F: accord de neuvième dominante,
 D: Domi@-nant@-nonen@-akkord,
@@ -1894,6 +1936,7 @@ FI: kaksoisappogiatura, kaksoisetuhele.
 @node double bar line
 @section double bar line
 
+ES: doble barra,
 I: doppia barra,
 F: double barre,
 D: Doppelstrich,
@@ -1907,7 +1950,7 @@ Indicates the end of a section within a movement.
 @node double dotted note
 @section double dotted note
 
-ES: nota con dos puntillos,
+ES: nota con doble puntillo,
 I: nota doppiamente puntata,
 F: note doublement pointée,
 D: doppelt punktierte Note,
@@ -2063,7 +2106,7 @@ FI: kahdeksasosatauko.
 @node engraving
 @section engraving
 
-ES: Grabar
+ES: grabar,
 I: incisione,
 F: gravure,
 D: Notenstechen, Notendruck
@@ -2082,7 +2125,7 @@ plate of metal.  Now also the term for the art of music typesetting.
 @node enharmonic
 @section enharmonic
 
-ES: enharmónico,
+ES: enarmónico,
 I: enarmonico,
 F: enharmonique,
 D: enharmonisch,
@@ -2096,21 +2139,21 @@ but equal pitch.
 
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
 \context Staff \relative c'' {
-  gis1 s s as s s <des g,!> s s <cis g!> s s
+  gis1  as <des g,!>  <cis g!> 
 }
 \context Lyrics \lyrics {
   \override Lyrics .LyricText #'self-alignment-X = #-1
   "g sharp  " "a flat  " "dim fifth  " "augm fourth"
 }
+>>
 @end lilypond
 
 @node equal temperament
 @section equal temperament
 
-ES: ?,
+ES: temperamento igual,
 I: temperamento equabile,
 F: tempérament égal,
 D: gleichschwebende Stimmung,
@@ -2125,7 +2168,7 @@ Tuning system dividing the octave into 12 equal @aref{semitone}s
 @node expression mark
 @section expression mark
 
-ES: ?,
+ES: expresión,
 I: segno d'espressione,
 F: signe d'expression, indication de nuance,
 D: Vortragszeichen,
@@ -2153,7 +2196,7 @@ FI: F, f.
 @node F clef
 @section F clef
 
-ES: Clave de Fa,
+ES: clave de fa,
 I: chiave di fa,
 F: clé de fa,
 D: F-Schlüssel,
@@ -2172,8 +2215,7 @@ symbol indicates playing an octave lower (for example on double bass
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f
 \override Staff.Clef #'full-size-change = ##t
-%\override Score.LyricText #'font-style = #'large
-\oldaddlyrics
+<<
 \relative c {
   \clef varbaritone
   f1
@@ -2186,14 +2228,14 @@ symbol indicates playing an octave lower (for example on double bass
   \clef "F_8"
   f1
 }
-\context Lyrics \lyrics {
-%  \override Lyrics .LyricText #'self-alignment-X = #-1
+ \lyrics {
   "baritone  "
   "bass  "
   "sub-bass  "
   "octaved up  "
   "octaved down"
 }
+>>
 @end lilypond
 
 @c F:  'point d'orgue' on a note, 'point d'arret' on a rest.
@@ -2201,9 +2243,9 @@ symbol indicates playing an octave lower (for example on double bass
 @node fermata
 @section fermata
 
-ES: Calderón,
+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,
@@ -2236,7 +2278,7 @@ FI: kvintti.
 @node figured bass
 @section figured bass
 
-ES: bajo cifrado, @aref{thorough bass}.
+@aref{thorough bass}.
 
 @node fingering
 @section fingering
@@ -2361,13 +2403,13 @@ variants of the base chords.
 
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
 \context Voice \relative c'' {
   <g e c >1 < a f d > < b g e >
   <c a f > < d b g > < e c a > < f d b > }
-\context Lyrics \lyrics { T Sp Dp S D Tp "\ \ D{\\kern-5pt}$\\mid$" }
+\context Lyrics \lyrics {
+  T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"}  } }
+>>
 @end lilypond
 
 @node G
@@ -2385,7 +2427,7 @@ FI: G, g.
 @node G clef
 @section G clef
 
-ES: Clave de sol,
+ES: clave de sol,
 I: chiave di sol,
 F: clé de sol,
 D: G-Schlüssel, Violinschlüssel,
@@ -2443,7 +2485,7 @@ Letting the pitch slide fluently from one note to the other.
 @node grace notes
 @section grace notes
 
-ES: ?,
+ES: notas de adorno,
 I: abbellimenti,
 F: fioriture,
 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
@@ -2458,6 +2500,7 @@ counted in the rhythm of the bar.  @aref{appoggiatura}.
 @node grand staff
 @section grand staff
 
+ES: sistema de piano,
 I: accolatura,
 F: accolade,
 D: Akkolade,
@@ -2507,7 +2550,7 @@ FI: puolinuotti.
 @node half rest
 @section half rest
 
-ES: ?,
+ES: silencio de blanca,
 I: pausa di minima,
 F: demi-pause,
 UK: minim rest,
@@ -2543,17 +2586,18 @@ section.  @aref{functional harmony}.
     \partial 4 < c g e >4 |
     < c a f > < b g d > < c g e >2
   }
-%  %\override Score.LyricText #'font-style = #'large
-  \oldaddlyrics
-  \context Staff = SB \relative c {
-    \clef bass
-    \partial 4 c4 | f, g c2
-    \bar "|."
-  }
-  \context Lyrics \lyrics {
-    T S D T
-  }
+  <<
+    \context Staff = SB \relative c {
+      \clef bass
+      \partial 4 c4 | f, g c2
+      \bar "|."
+    }
+    \lyrics {
+      T4 S D T
+    }
+  >>
 >>
+
 @end lilypond
 
 @node harmony
@@ -2583,7 +2627,7 @@ 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
 
@@ -2628,7 +2672,8 @@ DK: interval,
 S: intervall,
 FI: intervalli, kahden sävelen korkeusero.
 
-Difference in pitch between two notes.  Intervals may be perfect, minor, major,
+Difference in pitch between two notes.  Intervals may be perfect, minor,
+major,
 diminished, or augmented.  The augmented fourth and the diminished fifth are
 identical (@aref{enharmonic}) and are called @emph{tritonus}
 because they consist of three @aref{whole tone}s.  The addition
@@ -2636,65 +2681,62 @@ of such two intervals forms an octave.
 
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
 \context Voice \relative c'' {
-  < g g >1 s
-  < g as >^"minor" s
-  < g a! > s
-  < g ais >^"augm" s
-  < gis bes >^"dimin" s
-  < g! bes >^"minor" s
-  < g b! >^"major" s
-  < g bis >^"augm" s
+  < g g >1 
+  < g as >^"minor" 
+  < g a! > 
+  < g ais >^"augm" 
+  < gis bes >^"dimin" 
+  < g! bes >^"minor" 
+  < g b! >^"major" 
+  < g bis >^"augm" 
 }
 \context Lyrics \lyrics {
   "unisone " "second " "second " "second "
   "third  " "third " "third " "third"
 }
+>>
 @end lilypond
 
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
 \context Staff \relative c'' {
-  < g c >1^"perfect" s
-  < g cis >^"augm" s
-  < g d' >^"perfect" s
-  < g des' > ^"dimin" s
-  < gis es' >^"dimin" s
-  < g! es' >^"minor" s
-  < g e'! >^"major" s
-  < g eis' >^"augm" s
+  < g c >1^"perfect" 
+  < g cis >^"augm" 
+  < g d' >^"perfect" 
+  < g des' > ^"dimin" 
+  < gis es' >^"dimin" 
+  < g! es' >^"minor" 
+  < g e'! >^"major" 
+  < g eis' >^"augm" 
 }
-\context Lyrics \lyrics {
+ \lyrics {
   "fourth  " "fourth  " "fifth  " "fifth  "
   "sixth  " "sixth  " "sixth  " "sixth"
 }
+>>
 @end lilypond
 
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
 \context Staff \relative c'' {
-  < gis f'! >1^"dimin" s
-  < g! f'! >^"minor" s
-  < g fis' >^"major" s
-  < g g' > s
-  < g as' >^"minor" s
-  < g a'! >^"major" s
-  < g bes' >^"minor" s
-  < g b'! >^"major" s
+  < gis f'! >1^"dimin" 
+  < g! f'! >^"minor" 
+  < g fis' >^"major" 
+  < g g' > 
+  < g as' >^"minor" 
+  < g a'! >^"major" 
+  < g bes' >^"minor" 
+  < g b'! >^"major" 
 }
 \context Lyrics \lyrics {
   "seventh " "seventh " "seventh " "octave "
-  "none " "none " "decime " "decime"
+  "ninth " "ninth " "tenth " "tenth"
 }
+>>
 @end lilypond
 
 @node inverted interval
@@ -2724,6 +2766,7 @@ The difference between an interval and an octave.
 @node just intonation
 @section just intonation
 
+ES: entonación justa,
 I: intonazione giusta,
 F: intonation juste,
 D: reine Stimmung,
@@ -2754,7 +2797,7 @@ there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
 @node key signature
 @section key signature
 
-ES: armadura de clave,
+ES: armadura (de la clave),
 I: armatura di chiave,
 F: armure, armature [de la clé],
 D: Vorzeichen, Tonart,
@@ -2794,13 +2837,13 @@ 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
 @section ledger line
 
-ES: líneas adicionales,
+ES: línea adicional,
 I: tagli addizionali,
 F: ligne supplémentaire,
 D: Hilfslinie,
@@ -2819,7 +2862,7 @@ A ledger line is an extension of the staff.
 @node legato
 @section legato
 
-ES: ligado,
+ES: legato,
 I: legato,
 F: legato, lié,
 D: legato,
@@ -2828,26 +2871,26 @@ DK: legato,
 S: legato,
 FI: legato, sitoen.
 
-To be performed (a) without any perceptible interruption between the notes, 
+To be performed (a) without any perceptible interruption between the notes,
 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
 (d) @aref{staccato}.
 
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f
-\oldaddlyrics
-\context Staff \relative c'' {
-  c4-( d e-) \bar "||"
-  c4-- d-- e-- \bar "||"
-  c4-.-( d-. e-.-) \bar "||"
-  c4-. d-. e-. \bar "||"
-}
-\context Lyrics \lyrics {
-%  \override Lyrics .LyricText #'font-style = #'large
-  a
-  b "" ""
-  c
-  d
-}
+<<
+  \context Staff \relative c'' {
+    c4-( d e-) \bar "||"
+    c4-- d-- e-- \bar "||"
+    c4-.-( d-. e-.-) \bar "||"
+    c4-. d-. e-. \bar "||"
+  }
+  \lyrics {
+    a2.
+    b
+    c
+    d
+  }
+>>
 @end lilypond
 
 @node legato curve
@@ -2863,7 +2906,7 @@ unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
 @node lilypond
 @section lilypond
 
-ES: estanque de lilas,
+ES: estanque de nenúfares,
 I: stagno del giglio,
 F: étang de lis,
 UK: lily pond,
@@ -2878,6 +2921,8 @@ A pond with lilies floating in it, also the name of a music typesetter.
 @node ligature
 @section ligature
 
+ES: ligadura
+
 A ligature is a coherent graphical symbol that represents at least two
 distinct notes.  Ligatures originally appeared in the manuscripts of
 Gregorian chant notation roughly since the 9th century to denote
@@ -2941,9 +2986,9 @@ Note value: double length of @aref{breve}.
 @node lyrics
 @section lyrics
 
-ES: .,
+ES: letra (de la canción),
 I: .,
-F: .,
+F: paroles,
 D: Liedtext,
 NL: liedtekst,
 DK: .,
@@ -2981,6 +3026,7 @@ FI: duuri.
 @node meantone temperament
 @section meantone temperament
 
+ES: afinación mesotónica,
 I: accordatura mesotonica,
 F: tempérament mésotonique,
 D: mitteltönige Stimmung,
@@ -3032,7 +3078,9 @@ harmony}, @aref{relative key}.
 @node melisma
 @section melisma
 
-NL: melisma, 
+ES: melisma,
+F: mélisme,
+NL: melisma,
 FI: melisma, laulettavan tavun sävelkuvio.
 
 A melisma (plural: melismata) is a group of notes or tones sung on one
@@ -3048,7 +3096,7 @@ syllable in plainsong
 
 ES: compás,
 I: tempo, metro,
-F: indication de mésure,
+F: indication de mesure, mesure,
 D: Taktart, Metrum,
 NL: maatsoort,
 DK: taktart,
@@ -3120,7 +3168,7 @@ M.M.@: (Mälzels Metronom).
 @node mezzo-soprano
 @section mezzo-soprano
 
-ES: mezzo soprano,
+ES: mezzosoprano,
 I: mezzo-soprano,
 F: mezzo-soprano,
 D: Mezzosopran,
@@ -3173,7 +3221,7 @@ FI: molli.
 @node minor interval
 @section minor interval
 
-ES: intervalo mayor,
+ES: intervalo menor,
 I: intervallo minore,
 F: intervalle mineur,
 D: kleines Intervall,
@@ -3236,7 +3284,7 @@ FI: mordent, korukuvio.
 @node motive
 @section motive
 
-ES: tema,
+ES: motivo,
 I: inciso,
 F: incise,
 D: Motiv,
@@ -3248,16 +3296,22 @@ 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
@@ -3360,9 +3414,9 @@ and hears a tone.
 @node note head
 @section note head
 
-ES: oval,
+ES: cabeza,
 I: testa, testina, capocchia,
-F: t@^ete de la note,
+F: tête de la note,
 D: Notenkopf,
 NL: nootballetje,
 DK: nodehovede,
@@ -3379,7 +3433,7 @@ instrument.
 @node note value
 @section note value
 
-ES: valor,
+ES: valor (duración),
 I: valore, durata,
 F: durée, valeur (d'une note),
 D: Notenwert,
@@ -3389,7 +3443,8 @@ S: notvärde,
 FI: nuotin aika-arvo.
 
 Note values (durations) are measured as fractions, normally 1/2, of the next
-higher note value.  The longest duration normally used is called @emph{brevis},
+higher note value.  The longest duration normally used is called
+@emph{brevis},
 but sometimes (mostly in pre-baroque music) the double length note value
 @emph{longa} is used.
 
@@ -3501,7 +3556,8 @@ the upper note is played first.
 >>
 @end lilypond
 
-Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the
+Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
+the
 @emph{prall} (inverted mordent).
 
 @lilypond[fragment,line-width=13.0\cm]
@@ -3556,6 +3612,11 @@ 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
 
@@ -3701,7 +3762,7 @@ denotes the highest possible degree of speed.
 @node Pythagorean comma
 @section Pythagorean comma
 
-ES: coma pitagórico,
+ES: coma pitagórica,
 I: comma pitagorico,
 F: comma pythagoricien,
 D: Pythagoräisches Komma,
@@ -3763,7 +3824,7 @@ FI: neljännesosatauko.
 @node quintuplet
 @section quintuplet
 
-ES: quintillo,
+ES: cinquillo, quintillo.
 I: quintina,
 F: quintolet,
 D: Quintole,
@@ -3791,7 +3852,7 @@ Abbreviation "rall.".  @aref{ritardando}.
 @node relative key
 @section relative key
 
-ES: relativa,
+ES: relativo,
 I: tonalità relativa,
 F: tonalité relative,
 D: Paralleltonart,
@@ -3825,7 +3886,7 @@ with the same @aref{key signature}.
 @node repeat
 @section repeat
 
-ES: barra de repetición,
+ES: repetición,
 I: ritornello,
 F: barre de reprise,
 D: Wiederholung,
@@ -3883,7 +3944,7 @@ no common metrical unit (beat).
 @node ritardando
 @section ritardando
 
-ES: retardando,
+ES: ritardando,
 I: ritardando,
 F: ritardando,
 D: Ritardando, langsamer werden,
@@ -3925,7 +3986,7 @@ FI: asteikko, sävelasteikko.
 @node scale degree
 @section scale degree
 
-ES: grados de la escala,
+ES: grado (de la escala),
 I: grado della scala,
 F: degré [de la gamme],
 D: Tonleiterstufe,
@@ -3940,16 +4001,15 @@ sub@-do@-mi@-nant (S) and V = dominant (D).
 
 @lilypond[fragment,notime,line-width=13.0\cm]
 \set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\set minVerticalAlign = #8
-\oldaddlyrics
+<<
 \context Staff \relative c' {
   c1 d e f g a b c
 }
-\context Lyrics \lyrics {
+ \lyrics {
   << { I II III IV V VI VII I }
-    { T "" "" S D } >>
+     { T "" ""  S  D } >>
 }
+>>
 @end lilypond
 
 @aref{functional harmony}.
@@ -4032,6 +4092,7 @@ FI: septimi.
 @node sextuplet
 @section sextuplet
 
+ES: seisillo,
 I: sestina,
 F: sextolet,
 D: Sextole,
@@ -4084,7 +4145,7 @@ FI: kuudestoistaosanuotti.
 @node sixteenth rest
 @section sixteenth rest
 
-ES: silencia de semicorchea,
+ES: silencio de semicorchea,
 I: pausa di semicroma,
 F: quart de soupir,
 UK: semiquaver rest,
@@ -4128,7 +4189,7 @@ FI: kuudeskymmenesneljäsosanuotti.
 @node sixty-fourth rest
 @section sixty-fourth rest
 
-ES: silencia de semifusa,
+ES: silencio de semifusa,
 I: pausa di semibiscroma,
 F: seizième de soupir,
 UK: hemidemisemiquaver rest,
@@ -4143,7 +4204,7 @@ FI: kuudeskymmenesneljäsosatauko.
 @node slur
 @section slur
 
-ES: ligadura,
+ES: ligadura (de expresión),
 I: legatura (di portamento or espressiva),
 F: liaison, coulé,
 D: Bogen, Legatobogen, Phrasierungsbogen,
@@ -4159,6 +4220,7 @@ breath in singing.
 @node solmization
 @section solmization
 
+ES: solmisación,
 I: solmisazione,
 F: solmisation,
 D: Solmisation,
@@ -4205,7 +4267,7 @@ 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
@@ -4235,7 +4297,7 @@ The highest female voice.
 @node staccato
 @section staccato
 
-ES: staccato,
+ES: picado,
 I: staccato,
 F: staccato, piqué, détaché,
 D: Staccato,
@@ -4353,7 +4415,7 @@ The fourth @aref{scale degree}.  @aref{functional harmony}.
 @node submediant
 @section submediant
 
-ES: superdominante,
+ES: submediante,
 I: sopratonica,
 F: sous-médiante,
 D: Submediante,
@@ -4367,7 +4429,7 @@ The sixth @aref{scale degree}.
 @node subtonic
 @section subtonic
 
-ES: sensible,
+ES: subtónica,
 I: sottotonica,
 F: sous-tonique,
 D: Subtonika,
@@ -4423,7 +4485,7 @@ A symphony may be defined as a @aref{sonata} for orchestra.
 @node syncopation
 @section syncopation
 
-ES: sincopado,
+ES: síncopa,
 I: sincope,
 F: syncope,
 D: Synkope,
@@ -4451,13 +4513,15 @@ the underlaying (normal) pulse and the actual (abnormal) rhythm.
 @node syntonic comma
 @section syntonic comma
 
+ES: coma sintónica,
 I: comma sintonico (o didimico),
 F: comma syntonique,
 D: syntonisches Komma,
 NL: syntonische komma,
 DK: syntonisk komma,
 S: syntoniskt komma,
-FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysjärjestelmässä.
+FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa
+viritysjärjestelmässä.
 
 Difference between the natural third and the third obtained by Pythagorean
 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
@@ -4465,6 +4529,7 @@ tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
 @node system
 @section system
 
+ES: sistema,
 I: accollatura,
 F: système,
 D: Notensystem,
@@ -4496,7 +4561,7 @@ 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,
@@ -4539,7 +4604,7 @@ FI: desimi.
 @node tenuto
 @section tenuto
 
-ES: tenuto,
+ES: subrayado (tenuto),
 I: tenuto,
 F: tenue, tenuto,
 D: gehalten, tenuo,
@@ -4600,7 +4665,7 @@ 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,
@@ -4625,17 +4690,14 @@ with figures designating the chief @aref{interval}s and
         < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
     >>
   }
-  \oldaddlyrics
+  <<
     \context Staff = rh \relative c' {
     \clef bass
     \key es \major
     es8 c d bes c as bes16 as g f | es4
-  }
-  \context Lyrics \lyrics {
-    \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
-    << { "" "6" "" "4" "" "6" "" "" "6" "4" }
-      { "" "" "" "2" "" "" "" "" "" "2" } >>
-  }
+    }
+    \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2>  }
+  >>
 >>
 @end lilypond
 
@@ -4668,9 +4730,9 @@ uniting them into a single sound (tone) equal to the combined durations.
 @node time signature
 @section time signature
 
-ES: cifra indicadora de compás,
+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,
@@ -4682,7 +4744,7 @@ FI: tahtiosoitus.
 @node tone
 @section tone
 
-ES: sonido,
+ES: tono,
 I: suono,
 F: ton,
 D: Ton,
@@ -4698,7 +4760,7 @@ Music from the 20th century may be based on atonal sounds.
 @node tonic
 @section tonic
 
-ES: tonica,
+ES: tónica,
 I: tonica,
 F: tonique,
 D: Tonika,
@@ -4713,7 +4775,7 @@ The first @aref{scale degree}.
 @node transposition
 @section transposition
 
-ES: transposición,
+ES: transporte,
 I: trasposizione,
 F: transposition,
 D: Transposition,
@@ -4762,7 +4824,7 @@ FI: diskanttiavain.
 @node tremolo
 @section tremolo
 
-ES: tremolo,
+ES: trémolo,
 I: tremolo,
 F: trémolo,
 D: Tremolo,
@@ -4783,7 +4845,7 @@ a @aref{chord}, usually in the distance of a third
 \relative c' {
   e2:32_"a"
   f:32 [ e8:16 f:16 g:16 a:16 ] s4
-  \repeat "tremolo" 8 { e32_"b" g }
+  \repeat tremolo 8 { e32_"b" g }
 }
 @end lilypond
 
@@ -4818,7 +4880,7 @@ FI: trilli.
 @node triple meter
 @section triple meter
 
-ES: compás compuesto,
+ES: compás ternario,
 I: tempo ternario,
 F: mesure ternaire,
 D: in drei,
@@ -4846,7 +4908,7 @@ FI: trioli.
 @node tritone
 @section tritone
 
-ES: trítono,
+ES: tritono,
 I: tritono,
 F: triton,
 D: Tritonus,
@@ -4870,12 +4932,13 @@ S: stämgaffel,
 FI: viritysavain.
 
 A two-pronged piece of steel used to indicate absolute pitch.  Tuning forks
-give the international pitch for the tone @emph{a} (440 vibrations per second).
+give the international pitch for the tone @emph{a} (440 vibrations per
+second).
 
 @node turn
 @section turn
 
-ES: grupo,
+ES: grupeto,
 I: gruppetto,
 F: grupetto,
 D: Doppelschlag,
@@ -4905,7 +4968,7 @@ different octave.
 @node upbeat
 @section upbeat
 
-ES: entrada anacrúsica,
+ES: anacrusa,
 I: anacrusi,
 F: anacrouse, levée,
 D: Auftakt,
@@ -4988,7 +5051,7 @@ FI: kokotauko.
 @node whole tone
 @section whole tone
 
-ES: tono,
+ES: tono (entero),
 I: tono intero,
 F: ton entier,
 D: Ganzton,
@@ -5029,7 +5092,7 @@ symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
 @item
   @tab @strong{UK}
   @tab @strong{I}
-  @tab @strong{F}
+  @tab @strong{F (note name / rest name)}
 @item
   @tab @strong{D}
   @tab @strong{NL}
@@ -5059,7 +5122,7 @@ symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
 @item @strong{breve}
   @tab breve
   @tab breve
-  @tab brève
+  @tab brève / double-pause
 @item
   @tab Brevis
   @tab brevis
@@ -5067,14 +5130,14 @@ symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
 @item
   @tab brevis
   @tab brevis
-  @tab breve
+  @tab cuadrada
 
 @item
 
 @item @strong{whole}
   @tab semi@-breve
   @tab semi@-breve
-  @tab ronde
+  @tab ronde / pause
 @item
   @tab Ganze
   @tab hele
@@ -5089,7 +5152,7 @@ symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
 @item @strong{half}
   @tab minim
   @tab minima
-  @tab blanche
+  @tab blanche / demi-pause
 @item
   @tab Halbe
   @tab halve
@@ -5104,7 +5167,7 @@ symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
 @item @strong{quarter}
   @tab crotchet
   @tab semiminima
-  @tab noire
+  @tab noire / soupir
 @item
   @tab Viertel
   @tab kwart
@@ -5119,7 +5182,7 @@ symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
 @item @strong{eighth}
   @tab quaver
   @tab croma
-  @tab croche
+  @tab croche / demi-soupir
 @item
   @tab Achtel
   @tab achtste
@@ -5134,7 +5197,7 @@ symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
 @item @strong{sixteenth}
   @tab semiquaver
   @tab semicroma
-  @tab double croche
+  @tab double croche / quart de soupir
 @item
   @tab Sechzehntel
   @tab zestiende
@@ -5149,7 +5212,7 @@ symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
 @item @strong{thirty-second}
   @tab demisemiquaver
   @tab biscroma
-  @tab triple croche
+  @tab triple croche / huitième de soupir
 @item
   @tab Zweiunddreissigstel
   @tab tweeendertigste
@@ -5164,7 +5227,7 @@ symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
 @item @strong{sixty-fourth}
   @tab hemidemisemiquaver
   @tab semibiscroma
-  @tab quadruple croche
+  @tab quadruple croche / seizième de soupir
 @item
   @tab Vierundsechzigstel
   @tab vierenzestigste
@@ -5187,8 +5250,8 @@ symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
 @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
 
-@item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D} 
-@tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI} 
+@item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
+@tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
 
 @item
 
@@ -5196,12 +5259,14 @@ symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
 
 @item
 
-@item @strong{c-sharp} @tab do diesis  @tab do diesis  @tab ut dièse @tab Cis @tab cis @tab
+@item @strong{c-sharp} @tab do sostenido  @tab do diesis  @tab ut dièse @tab
+Cis @tab cis @tab
 cis @tab cis @tab cis
 
 @item
 
-@item @strong{d-flat} @tab re bemolle  @tab re bemolle  @tab ré bémol @tab Des @tab des @tab
+@item @strong{d-flat} @tab re bemol  @tab re bemolle  @tab ré bémol @tab
+Des @tab des @tab
 des @tab des @tab des
 
 @item
@@ -5218,11 +5283,13 @@ des @tab des @tab des
 
 @item
 
-@item @strong{g} @tab sol  @tab sol  @tab sol @tab G @tab g @tab g @tab g @tab g
+@item @strong{g} @tab sol  @tab sol  @tab sol @tab G @tab g @tab g @tab g
+@tab g
 
 @item
 
-@item @strong{a-flat} @tab la bemol  @tab la bemolle  @tab la bémol @tab As @tab as @tab as
+@item @strong{a-flat} @tab la bemol  @tab la bemolle  @tab la bémol @tab As
+@tab as @tab as
 @tab as @tab as
 
 @item
@@ -5231,12 +5298,14 @@ des @tab des @tab des
 
 @item
 
-@item @strong{a-sharp} @tab la sostenido  @tab la diesis  @tab la dièse @tab Ais @tab ais @tab
+@item @strong{a-sharp} @tab la sostenido  @tab la diesis  @tab la dièse @tab
+Ais @tab ais @tab
 ais @tab ais @tab ais
 
 @item
 
-@item @strong{b-flat} @tab si bemol  @tab si bemolle  @tab si bémol @tab B @tab bes @tab b
+@item @strong{b-flat} @tab si bemol  @tab si bemolle  @tab si bémol @tab B
+@tab bes @tab b
 @tab b @tab b
 
 @item