X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fmusic-glossary.tely;h=f0998e110707fd92b3c4a3da51ed71d257f8edb9;hb=b687e89b313ec664b41c6eede998c4738d6c84ab;hp=722a73c7bcfe84c9ad6a71c4a3a88776abf8b0c2;hpb=9193ac6225e2beafb8ea5da2610c70dd610e03be;p=lilypond.git

diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely
index 722a73c7bc..f0998e1107 100644
--- a/Documentation/user/music-glossary.tely
+++ b/Documentation/user/music-glossary.tely
@@ -1,7 +1,11 @@
-\input texinfo  @c -*-texinfo-*-
+                   \input texinfo  @c -*-texinfo-*-
 @settitle Music Glossary
 @setfilename music-glosssary.info
 
+@dircategory GNU music project
+@direntry
+* Glossary: (lilypond/music-glossary).                  Glossary of music terms.
+@end direntry
 
 @ifhtml
 This document is also available in @uref{music-glossary.ps.gz,gzipped
@@ -48,14 +52,14 @@ Copyright @copyright{} 1999--2004 by the authors
 
 @ifnottex
 @node Top
-@top
-@chapter Music Glossary
+@top Music Glossary
+@c HJJ: Info needs `@top', which is a synonym for `@unnumbered' in TeX.
 @menu
 @end menu
 @end ifnottex
 
 @ifnottex
-@table @code
+@table @samp
 @item Adrian Mariano
 Italian glossary,
 @item Bjoern Jacke
@@ -98,25 +102,14 @@ Copyright 1999--2004 by the authors
 @c @evenheading @thispage @| @|
 @c @oddheading @| @| @thispage @|
 
-@macro ar{}
-@iftex
-@tex $\\Rightarrow$ @end tex@c
-@end iftex
-@ifhtml
-@html
-→
-@end html
-@end ifhtml
-@ifinfo
--->
-@end ifinfo
-@end macro
+@include macros.itexi
+
 
 @ignore
 We do not use refs for Info:
 
-   @w{@ar{}\word\}@c vs:
-   @w{@ar{}@pxref{\word\}}@c
+   @w{@arrow{}\word\}@c vs:
+   @w{@arrow{}@pxref{\word\}}@c
 
 they look too intrusive (says Han-Wen).
 @end ignore
@@ -125,13 +118,13 @@ they look too intrusive (says Han-Wen).
 @c arrowref
 @macro aref{word}
 @iftex
-@w{@ar{}@strong{\word\}}@c
+@w{@arrow{}@strong{\word\}}@c
 @end iftex
 @ifhtml
-@ar{}@ref{\word\, @strong{\word\}}@c
+@arrow{}@ref{\word\, @strong{\word\}}@c
 @end ifhtml 
 @ifinfo
-@w{@ar{}\word\}@c
+@w{@arrow{}\word\}@c
 @end ifinfo
 @end macro
 
@@ -166,8 +159,9 @@ they look too intrusive (says Han-Wen).
 This is an example reference, that points you to the @aref{accent}
 entry.
 
-
-@table @strong
+@c All `@table @strong' replaced by `@table @samp'
+@c @strong{note xxx} breaks for info with makeinfo CVS <= 2004-04-26
+@table @samp
 
 @aitem{A}
 ES: la,
@@ -211,11 +205,11 @@ by a @aref{whole tone}, a flat lowers it by a semitone and a double
 flat lowers it by a whole tone. A natural cancels the effect of a previous
 accidental.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override TextScript   #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
+\oldaddlyrics
+\context Staff \relative c'' {
   gis1 s s gisis s s ges s s geses s s g!
 }
 \context Lyrics \lyrics {
@@ -293,7 +287,7 @@ FI: alttoavain.
 C clef setting middle C on the middle line of the staff
 @aref{C clef}.
 
-@aitem{ambitus}
+@aitem{ambit}
 ES: ambitus,
 I: ambitus,
 F: ambitus,
@@ -303,9 +297,9 @@ DK: ambitus,
 S: ambitus,
 FI: ambitus, @"a@"aniala, soitinala.
 
-The term ambitus (plural: ambituses) denotes a range of pitches for a
-given voice in a part of music. It also may denote the pitch range
-that a musical instrument is capable of playing.
+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.
 
 @aitem{ancient minor scale}
 I: scala minore naturale,
@@ -316,9 +310,11 @@ DK: ren mol,
 S: ren mollskala,
 FI: luonnollinen molliasteikko.
 
-@lilypond[notime]
+@aref{diatonic scale} (ancient minor).
+
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
-\notes\relative c'' {
+\relative c'' {
 a1 b c d e f g a }
 @end lilypond
 
@@ -345,13 +341,13 @@ S: f@"orslag,
 FI: appoggiatura, etuhele.
 
 Ornamental note, usually a second, that is melodically connected with the main
-note that follows it.  In music before the 19th century a. were usually
+note following it.  In music before the 19th century a. were usually
 performed on the beat, after that mostly before the beat.  While the short
 a. is performed as a short note regardless of the duration of the main note
 the duration of the long a. is proportional to that of the main note.
 
 @lilypond
-\context Voice \notes\relative c'' {
+\context Voice \relative c'' {
 \key d \major
 \time 4/4
 
@@ -368,7 +364,7 @@ fis8 e16 fis
   }
 g8 fis16 g |
 \cadenzaOn a4 \bar "||" \cadenzaOff }
-\notes\relative c'' {
+\relative c'' {
 <d a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
 \cadenzaOn a4 \bar "||" \cadenzaOff }
 @end lilypond
@@ -376,7 +372,7 @@ g8 fis16 g |
 An appoggiatura may have more notes preceding the main note.
 
 @lilypond
-\notes\relative c'' {
+\relative c'' {
   \key as \major
   \time 2/4
 %  \override Score.TextScript   #'font-style = #'large
@@ -400,8 +396,8 @@ DK: arpeggio, akkordbrydning,
 S: arpeggio,
 FI: arpeggio, murtosointu.
 
-@lilypond
-\notes \context PianoStaff <<
+@lilypond[fragment]
+ \context PianoStaff <<
   \context Staff = SA \relative c'' {
     \time 4/4
     \clef treble
@@ -455,7 +451,7 @@ FI: k@"asinkirjoitettu nuotti.
 
 1. A manuscript in the composer's own hand.
 2. Music prepared for photoreproduction by freehand drawing,
-with only the aid of a straightedge ruler and T-square,
+with the aid of a straightedge ruler and T-square only,
 which attempts to emulate engraving.
 This required more skill than did engraving.
 
@@ -552,10 +548,10 @@ FI: palkki.
 Line connecting a series of notes (shorter than a quarter note).
 The number of beams determine the note value of the connected notes.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override TextScript   #'font-style = #'large
-\notes\relative c'' {
+\relative c'' {
   g8_"1/8"[ g g g] s16
   g16_"1/16"[ g g g] s16
   g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
@@ -576,12 +572,12 @@ Note value used for counting, most often half-, fourth-, and eighth notes.
 The base counting value and the number of them per measure is indicated at
 the start of the music.
 
-@lilypond
+@lilypond[fragment]
 \key g \major
 \time 4/4
-\notes\relative c'' { g4 c b a | g1 \bar "||"}
+\relative c'' { g4 c b a | g1 \bar "||"}
 \time 3/8
-\notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
+\relative c'' { g8 d' c | b c a | g4. \bar "||"}
 @end lilypond
 
 @aitem{bind}
@@ -601,17 +597,17 @@ Symbol at the start of a system connecting staves.  Curly braces are used
 for connecting piano staves, angular brackets for connecting parts in an
 orchestral or choral score.
 
-@lilypond
-\notes\context GrandStaff <<
+@lilypond[fragment]
+\context GrandStaff <<
   \relative c''\context Staff = SA  { \clef treble g4 e c2 }
   \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
 @end lilypond
 
-@lilypond
+@lilypond[fragment]
 \context StaffGroup <<
 %  \set StaffGroup.minVerticalAlign = #12
-  \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
-  \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
+  \relative c'' \context Staff = SA { \clef treble g4 e c2 }
+  \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
 @end lilypond
 
 @aitem{brass}
@@ -652,9 +648,9 @@ FI: brevis.
 @aref{note value} twice as long as a whole note.  Mainly used
 in pre-1650 music.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
-\notes\relative c'' { g\breve }
+\relative c'' { g\breve }
 @end lilypond
 
 @aitem{C}
@@ -680,12 +676,12 @@ FI: C-avain.
 Clef symbol indicating the position of the middle C.  Used on all note
 lines.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 \override Score.Clef   #'full-size-change = ##t
 %\override Score.LyricText   #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c' {
+\oldaddlyrics
+\context Staff \relative c' {
   \clef soprano c1 s s
   \clef mezzosoprano c s s
   \clef alto c s s
@@ -721,8 +717,8 @@ S: kadens,
 FI: kadenssi, lopuke.
 
 An extended, improvisatory style section inserted near the end of
-movement.  The purpose of a cadenza is to give the singer or player a chance to
-exhibit her technichal skill and not the least her ability to improvise.  Since
+movement.  The purpose of a cadenza is to give singers or players a chance to
+exhibit their technical skill and not the least their ability to improvise.  Since
 the middle of the 19th century, however, most cadences have been written down
 by the composer.
 
@@ -774,11 +770,11 @@ and five-tone @emph{ninth} major chords are most often used as dominants
 third above the lower notes to define their quality as major or minor.  Such
 chords are denoted open chords
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override TextScript   #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
+\oldaddlyrics
+\context Staff \relative c'' {
   <g b d>1 s s
   <g bes d> s s
   <g bes des> s s
@@ -805,9 +801,9 @@ FI: kromaattinen asteikko.
 
 A scale consisting of all 12 @aref{semitone}s.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
-\notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
+\relative c' { c1 cis d dis e f fis g gis a ais b c }
 @end lilypond
 
 @aitem{chromaticism}
@@ -870,7 +866,7 @@ geometrically describes the development of a range of pitches
 geometrical shape of a cluster covers the area in which any single
 pitch contained in the cluster would be notated as an ordinary note.
 
-@lilypond[relative=1,verbatim]
+@lilypond[fragment,relative=2,verbatim]
     \apply #notes-to-clusters {  <c e > <b f'> <b g'> <c g> <f e>  }
 @end lilypond
 
@@ -925,11 +921,12 @@ DK: trinvis bev@ae{}gelse,
 S: stegvis r@"orelse,
 FI: asteittainen liike.
 
-Melody moving in the narrow steps of the scale.
+Progressing melodically by intervals of a second.  Opposite of @aref{disjunct movement}.
 
-@lilypond
+
+@lilypond[fragment]
 \key g \major \time 4/4
-\notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
+\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
 @end lilypond
 
 @aitem{consonance}
@@ -975,9 +972,9 @@ also the contrapunctal technique used in the @emph{fugue} which, since the
 music of the baroque era, has been one of the most popular polyphonic
 composition methods.
 
-@lilypond[staffsize=11]
-\override Score.TimeSignature   #'style =\turnOff
-\notes\context PianoStaff <<
+@lilypond[fragment,staffsize=11]
+\override Score.TimeSignature #'break-visibility = #all-invisible
+\context PianoStaff <<
   \context Staff = SA \relative c' {
     \key bes \major
     \time 4/4
@@ -1043,9 +1040,9 @@ FI: cresendo, voimistuen.
 Increasing volume.  Indicated by a rightwards opening horizontal wedge or the
 abbreviation ``cresc.''.
 
-@lilypond
+@lilypond[fragment]
 \key g \major \time 4/4
-\notes\relative c'' { g4 \< a b c |  d1\! \bar "|." }
+\relative c'' { g4 \< a b c |  d1\! \bar "|." }
 @end lilypond
 
 @aitem{cue-notes}
@@ -1077,7 +1074,7 @@ of the 20th century
 
 @lilypond
 \score {
-    \notes {
+     {
 %	\override Staff.Custos #'neutral-position = #4
 	\override Staff.Custos #'neutral-direction = #-1
 
@@ -1087,7 +1084,7 @@ of the 20th century
     }
     \paper {
 	\context {
-	    \StaffContext
+	    \Staff
 	    \consists Custos_engraver
 	}
        raggedright = ##t
@@ -1126,16 +1123,16 @@ D: dal segno,
 NL: dal segno,
 DK: dal segno,
 S: dal segno,
-FI: dal segno, merkkiin asti.
+FI: dal segno, lähtien merkistä.
 
 Abbreviated ``d.s.''.  Repetition, not from the beginning, but from
 another place frequently near the beginning marked by a sign:
 
-@lilypond
+@lilypond[fragment]
 %\override TextScript   #'font-style = #'large
 \override TextScript   #'font-shape = #'italic
 \key g \major \time 4/4
-\notes\relative c'' { d1 | g,4^\segno  a b c | b a g2_"d.s." \bar "|." }
+\relative c'' { d1 | g,4^\segno  a b c | b a g2_\markup{ \line < "d.s. " \small \raise #1 \musicglyph #"scripts-segno" > } \bar "|." }
 @end lilypond
 
 @aitem{decrescendo}
@@ -1150,8 +1147,8 @@ FI: decresendo, hiljentyen.
 Decreasing tone volume.  Indicated by a leftwards opening horizontal wedge
 or the abbreviation ``decresc.''.
 
-@lilypond
-\notes\relative c'' {
+@lilypond[fragment]
+\relative c'' {
   \key g \major \time 4/4
   d4 \> c b a |  g1 \! \bar "|."
 }
@@ -1183,15 +1180,15 @@ A scale consisting of 5@w{ }@aref{whole tone}s and
 2@w{ }@aref{semitone}s (S).  Scales played on the white keys
 of a piano keybord are diatonic.
 
-The church modes are used in gregorial chant and pre baroque early music but
+The church modes are used in gregorial chant and in pre baroque early music but
 also to some extent in newer jazz music.
 
-@lilypond[notime,linewidth=110\mm]
+@lilypond[fragment,notime,linewidth=110\mm]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \context Staff \notes\relative c' {
+\oldaddlyrics
+  \context Staff \relative c' {
     c1 d
     \override TextScript   #'padding = #-4
     e^"~~ S" f g a b^"~~ S" c
@@ -1201,12 +1198,12 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \context Staff \notes\relative c' {
+\oldaddlyrics
+  \context Staff \relative c' {
     d1
     \override TextScript   #'padding = #-4
     e^"~~ S" f g a b^"~~ S" c d
@@ -1216,12 +1213,12 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c' {
+\oldaddlyrics
+  \relative c' {
     \override TextScript   #'padding = #-4
     e1^"~~ S" f g a b^"~~ S" c d e
   }
@@ -1230,12 +1227,12 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c' {
+\oldaddlyrics
+  \relative c' {
     f1 g a
     \override TextScript   #'padding = #-4
     b^"~~ S" c d e^"~~ S" f
@@ -1245,12 +1242,12 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c'' {
+\oldaddlyrics
+  \relative c'' {
     g1 a
     \override TextScript   #'padding = #-4
     b^"~~ S" c d e^"~~ S" f g }
@@ -1259,12 +1256,12 @@ also to some extent in newer jazz music.
   }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c'' {
+\oldaddlyrics
+  \relative c'' {
     a1
     \override TextScript   #'padding = #-4
     b^"~~ S" c d e^"~~ S" f g a
@@ -1279,12 +1276,12 @@ compositional music are primarily the major and the minor scales.  In the
 harmonic minor scale type an augmented second (A) occurs between the 6th and
 7th tone.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c' {
+\oldaddlyrics
+  \relative c' {
     c1 d
     \override TextScript   #'padding = #-4
     e^"~~ S" f g a b^"~~ S" c
@@ -1294,12 +1291,12 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
   }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c'' {
+\oldaddlyrics
+  \relative c'' {
     a1
     \override TextScript   #'padding = #-4
     b^"~~ S" c d e^"~~ S" f g a
@@ -1309,12 +1306,12 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
   }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c'' {
+\oldaddlyrics
+  \relative c'' {
     a1
     \override TextScript   #'padding = #-4
     b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
@@ -1324,12 +1321,12 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and
   }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-  \notes\relative c'' {
+\oldaddlyrics
+  \relative c'' {
     a1
     \override TextScript   #'padding = #-4
     b^"~~ S" c d e fis gis^"~~ S"
@@ -1374,13 +1371,13 @@ DK: springende bev@ae{}gelse,
 S: hoppande r@"orelse,
 FI: melodian hyppiv@"a liike.
 
-Melody moving in steps greater than those of the
-scale.  Opposite of @aref{conjunct movement}.
+Progressing melodically by intervals larger than a major second.  
+Opposite of @aref{conjunct movement}.
 
-@lilypond
+@lilypond[fragment]
 \key a \major
 \time 4/4
-\notes\relative c' {
+\relative c' {
   \partial 8 e8 |
   a4. gis8 b a e cis |
   fis2 d4. \bar "||" }
@@ -1646,11 +1643,11 @@ FI: enharmoninen.
 Two notes, intervals, or scales are enharmonic if they have different names
 but equal pitch.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
+\oldaddlyrics
+\context Staff \relative c'' {
   gis1 s s as s s <des g,!> s s <cis g!> s s
 }
 \context Lyrics \lyrics {
@@ -1713,12 +1710,12 @@ an octave higher (for example bass recorder) while 8@w{ }below the clef
 symbol indicates playing an octave lower (for example on double bass
 @aref{strings}).
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 \override Staff.Clef   #'full-size-change = ##t
 %\override Score.LyricText   #'font-style = #'large
-\addlyrics
-\notes\relative c {
+\oldaddlyrics
+\relative c {
   \clef varbaritone
   f1
   \clef bass
@@ -1754,9 +1751,9 @@ FI: fermaatti, pid@"ake.
 
 Prolonged note or rest of indefinite duration.
 
-@lilypond
+@lilypond[fragment]
 \time 4/4
-\notes\relative c'' {
+\relative c'' {
   a4 b c2^\fermata \bar "|."
 }
 @end lilypond
@@ -1788,7 +1785,7 @@ FI: sormitus.
 
 The methodical use of fingers in the playing of instruments.
 
-@aitem{flag,pennant}
+@aitemii{flag,pennant}
 ES: corchete,
 I: coda (uncinata), bandiera,
 F: crochet,
@@ -1802,10 +1799,10 @@ Ornament at the end of the stem of a note used for notes with values
 less than a quarter note.  The number of flags determines the
 @aref{note value}.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
-\notes\relative c'' {
+\relative c'' {
   g8_"1/8" s8
   g16_"1/16" s8
   g32_"1/32" s8
@@ -1881,12 +1878,12 @@ first note of the scale), subdominant (S, the chord on the fourth note), and
 dominant (D, the chord on the fifth note).  Other are considered to be
 variants of the base chords.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-\context Voice \notes\relative c'' {
+\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}$\\mid$" }
@@ -1918,12 +1915,12 @@ the notes must be played an octave higher while 8 below the clef symbol
 indicates playing or singing an octave lower (most tenor parts in choral
 scores are notated like that).
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 \override Staff.Clef   #'full-size-change = ##t
 %\override Score.LyricText   #'font-style = #'large
-\addlyrics
-\notes\relative c'' {
+\oldaddlyrics
+\relative c'' {
   \clef french
   g1 s s
   \clef treble
@@ -1955,7 +1952,7 @@ FI: glissando, liukuen.
 Letting the pitch slide fluently from one note to the other.
 
 @aitem{grace notes}
-SP: ?,
+ES: ?,
 I: abbellimenti,
 F: fioriture,
 D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
@@ -2006,7 +2003,7 @@ FI: puolinuotti.
 @aref{note value}.
 
 @aitem{half rest}
-SP: ?,
+ES: ?,
 I: pausa di minima,
 F: demi-pause,
 UK: minim rest,
@@ -2031,8 +2028,8 @@ FI: harmoninen kadenssi.
 Sequence of chords that terminate a musical phrase or
 section.  @aref{functional harmony}.
 
-@lilypond
-\notes\context PianoStaff <<
+@lilypond[fragment]
+\context PianoStaff <<
   \context Staff = SA \relative c'' {
     \time 4/4
     \clef treble
@@ -2041,7 +2038,7 @@ section.  @aref{functional harmony}.
     < c a f > < b g d > < c g e >2
   }
 %  %\override Score.LyricText   #'font-style = #'large
-  \addlyrics
+  \oldaddlyrics
   \context Staff = SB \relative c {
     \clef bass
     \partial 4 c4 | f, g c2
@@ -2068,10 +2065,10 @@ Tones sounding simultaneously.  Two note harmonies fall into the categories
 
 Consonances:
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
-\context Voice \notes\relative c'' {
+\context Voice \relative c'' {
   <g g>1_"unisone  " s
   <g b>_"third  " s
   <g c>_"fourth  " s
@@ -2084,10 +2081,10 @@ Consonances:
 
 Dissonances:
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
-\context Voice  \notes\relative c'' {
+\context Voice  \relative c'' {
   <g a>1_"second  " s s
   <g f'>_"seventh  " s s
   <g a'>_"ninth" s s
@@ -2125,12 +2122,12 @@ identical (@aref{enharmonic}) and are called @emph{tritonus}
 because they consist of three @aref{whole tone}s.  The addition
 of such two forms an octave.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-\context Voice \notes\relative c'' {
+\oldaddlyrics
+\context Voice \relative c'' {
   < g g >1 s
   < g as >^"minor" s
   < g a! > s
@@ -2146,16 +2143,16 @@ of such two forms an octave.
 }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
+\oldaddlyrics
+\context Staff \relative c'' {
   < g c >^"perfect" s
   < g cis >^"augm"  s
   < g d' >^"perfect"  s
-  < g des' > ^"dim" s
+  < g des' > ^"dimin" s
   < gis es' >^"dimin"  s
   < g! es' >^"minor"  s
   < g e'! >^"major"  s
@@ -2167,12 +2164,12 @@ of such two forms an octave.
 }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\override Score.TextScript   #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
+\oldaddlyrics
+\context Staff \relative c'' {
   < gis f'! >1^"dimin"  s
   < g! f'! >^"minor"  s
   < g fis' >^"major"  s
@@ -2200,10 +2197,10 @@ FI: k@"a@"anteisintervalli.
 
 The difference between an interval and an octave.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
-\context Staff \notes\relative c'' {
+\context Staff \relative c'' {
   < g  a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
   < g, b >_"third  " s s < g' b, >_"sixth  " s s \bar "||"
   < g, c >_"fourth  " s s < g' c, >_"fifth  " s s \bar "||"
@@ -2288,9 +2285,9 @@ FI: apuviiva.
 
 A ledger line is an extension of the staff.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
-\notes\relative c'' { a,1 s c'' }
+\relative c'' { a,1 s c'' }
 @end lilypond
 
 @aitem{legato}
@@ -2303,14 +2300,14 @@ DK: legato,
 S: legato,
 FI: legato, sitoen.
 
-To be performed (a) without any perceptible interruption between the notes 
-unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato} and
+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[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
-\addlyrics
-\context Staff \notes\relative c'' {
+\oldaddlyrics
+\context Staff \relative c'' {
   c4-( d e-) \bar "||"
   c4-- d-- e-- \bar "||"
   c4-.-( d-. e-.-) \bar "||"
@@ -2391,9 +2388,9 @@ FI: longa.
 Note value: double length of @aref{breve}.
 @aref{note value}.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
-\notes\relative c'' {
+\relative c'' {
   \override NoteHead   #'style = #'mensural
   g\longa
 }
@@ -2407,7 +2404,7 @@ D: .,
 NL: liedtekst,
 DK: .,
 S: .,
-FI, sanoitus,
+FI, sanoitus.
 
 @aitem{major interval}
 ES: intervalo mayor,
@@ -2447,7 +2444,7 @@ by 16@w{ }@aref{cent}s.  Due to the non-circular character of this
 @aref{temperament} only a limited set of keys are playable.
 Used for tuning keyboard instruments for performance of pre-1650 music.
 
-@aitem{measure, bar}
+@aitemii{measure,bar}
 ES: comp@'as,
 I: misura, battuta,
 F: mesure,
@@ -2489,7 +2486,7 @@ syllable in plainsong
 @aitem{melodic cadence}
 @aref{cadenza}.
 
-@aitem{meter, time}
+@aitemii{meter,time}
 ES: comp@'as,
 I: tempo, metro,
 F: indication de m@'esure,
@@ -2508,23 +2505,23 @@ whether there are two, three or four units to the measure,
 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
 @emph{quadruple} (4/2, 4/4, 4/8) meter.  4/4 is also called common meter.
 
-@lilypond
-\notes\relative c'' {
+@lilypond[fragment]
+\relative c'' {
   \time 3/4
   \key f \major
   c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
 @end lilypond
 
-@lilypond
-\notes\relative c' {
+@lilypond[fragment]
+\relative c' {
   \time 6/8
   \key f \major
   f8 f f f a16 g a f |
   c'8 c c c e16 d e c \bar "||"}
 @end lilypond
 
-@lilypond
-\notes\relative c'' {
+@lilypond[fragment]
+\relative c'' {
   \time 5/4
   \key g \major
   d4 b8 g b d d c a4 |
@@ -2582,10 +2579,10 @@ FI: keski-C.
 
 First C below the 440 Hz A.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 \override Staff.Clef   #'full-size-change = ##t
-\notes\relative c' {
+\relative c' {
   \clef bass c1 s
   \clef alto c s
   \clef treble c s
@@ -2667,10 +2664,10 @@ FI: teema, s@"avelaihe.
 The briefest intelligible and self-contained fragment of a musical theme or
 subject.
 
-@lilypond
-\override Score.TimeSignature   #'style = \turnOff
-%\override Score.TextScript   #'font-style = #'large
-\notes\relative c'' {
+@lilypond[fragment]
+\override Score.TimeSignature #'break-visibility = #all-invisible
+%\override Score.TextScript #'font-style = #'large
+\relative c'' {
   \time 4/4
   \key g \major
   \partial 8 g16_"------" fis |
@@ -2703,8 +2700,8 @@ DK: flertaktspause,
 S: flertaktspaus,
 FI: usean tahdin mittainen tauko.
 
-@lilypond
-\notes\relative c'' {
+@lilypond[fragment]
+\relative c'' {
   a1
   \set Score.skipBars = ##t R1*3
   a1
@@ -2792,10 +2789,10 @@ 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.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 %\override Score.TextScript   #'font-style = #'large
 \set Score.automaticBars = ##f
-\notes\relative c'' {
+\relative c'' {
   \override NoteHead   #'style = #'mensural
   g\longa_"longa" g\breve_"breve"
   \revert NoteHead #'style
@@ -2803,10 +2800,10 @@ but sometimes (mostly in pre baroque music) the double length note value
   g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 %\override Score.TextScript   #'font-style = #'large
 \set Score.automaticBars = ##f
-\notes\relative c'' {
+\relative c'' {
   r\longa_"longa" r\breve_"breve"
   r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
   r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
@@ -2815,9 +2812,9 @@ but sometimes (mostly in pre baroque music) the double length note value
 An augmentation dot after a note multiplies the duration by one and a
 half.  Another dot adds yet a fourth of the duration.
 
-@lilypond
+@lilypond[fragment]
 %\override Score.TextScript   #'font-style = #'large
-\notes\relative c'' {
+\relative c'' {
   \time 4/4
   g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
   g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
@@ -2828,17 +2825,17 @@ subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
 dotted notes are also frequently used.
 
-@lilypond
+@lilypond[fragment]
 %\override Score.TextScript   #'font-style = #'large
-\notes\relative c'' {
+\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 "||"
 }
 @end lilypond
 
-@lilypond
-\notes\relative c'' {
+@lilypond[fragment]
+\relative c'' {
   \time 3/4
   \times 3/2 {g4_"duplets" g} |
   g4 g g \bar "||"
@@ -2878,36 +2875,36 @@ middle of the 19th century and onwards the trill is performed with the main
 note first while in the music from the preceding baroque and classic periods
 the upper note is played first.
 
-@lilypond
+@lilypond[fragment]
 <<
   \context Staff = sa {
 %        \override Score.TextScript   #'font-style = #'large
-    \notes\relative c'' {
+    \relative c'' {
       c2._"pre-1850"  b4\trill | c1 \bar "||"
       c2._"post-1850" b4\trill | c1 \bar "||"
     }
   }
-  \notes\relative c'' {
+  \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
   }
 >>
 @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
+@lilypond[fragment]
 <<
   \context Staff = sa {
 %        \override Score.TextScript   #'font-style = #'large
-    \notes\relative c'' {
+    \relative c'' {
       a4_"turn" b\turn c2 \bar "||"
       g4_"mordent" a b\mordent a \bar "||"
       e'4_"prall" d\prall c2 \bar "||"
     }
   }
-  \notes\relative c'' {
+  \relative c'' {
     a4 c16[ b a b] c2
     g4 a  b16-[ a b8] a4
     e'4 e32[ d e d ~ d8] c2
@@ -3006,7 +3003,7 @@ D: piano, leise,
 NL: piano,
 DK: piano,
 S: piano,
-FI, piano, hiljaa,
+FI, piano, hiljaa.
 
 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
 @emph{mezzopiano} (@b{mp}) medium soft.
@@ -3059,7 +3056,7 @@ DK: presto,
 S: presto,
 FI: presto, hyvin nopeasti.
 
-Very quick, i.e. quicker than @aref{allegro}.  @emph{prestissimo}
+Very quick, i.e. quicker than @aref{allegro};  @emph{prestissimo}
 denotes the highest possible degree of speed.
 
 @aitem{Pythagorean comma}
@@ -3074,7 +3071,7 @@ FI: pytagorinen komma.
 
 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
 but this@w{ }C, obtained by adding 12@w{ }fifths, is
-24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
+24 @aref{cent}s higher than the@w{ }C obtained by adding
 7@w{ }octaves.  The difference between those two pitches is called the
 Pythagorean comma.
 
@@ -3136,7 +3133,7 @@ D: rallentando, langsamer werden,
 NL: rallentando,
 DK: rallentando,
 S: rallentando,
-FI. rallerdando, hidastuen,
+FI. rallerdando, hidastuen.
 
 Abbreviation "rall.".  @aref{ritardando}.
 
@@ -3153,20 +3150,20 @@ FI: rinnakkaiss@"avellaji.
 @aref{major} and @aref{minor} @aref{key}
 with the same @aref{key signature}.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
-\notes\relative c' {
+\relative c' {
   \key es \major
   es1_"e flat major" f g as bes c d es
   \bar "||"
 }
 @end lilypond
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
-\notes\relative c' {
+\relative c' {
   \key es \major
   c1_"c minor" d es f g a! b! c \bar "||"
 }
@@ -3182,10 +3179,10 @@ DK: gen@-ta@-gel@-se,
 S: repris,
 FI: toisto.
 
-@lilypond
+@lilypond[fragment]
 \key g \major
 \time 4/4
-\notes\relative c'' {
+\relative c'' {
   \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
 }
 @end lilypond
@@ -3274,12 +3271,12 @@ Names and symbols used in harmonic analysis to denote tones of the scale as
 roots of chords.  The most important are degrees I = tonic (T), IV =
 sub@-do@-mi@-nant (S) and V = dominant (D).
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.LyricText   #'font-style = #'large
 %\set minVerticalAlign = #8
-\addlyrics
-\context Staff \notes\relative c' {
+\oldaddlyrics
+\context Staff \relative c' {
   c1 d e f g a b c
 }
 \context Lyrics \lyrics {
@@ -3300,7 +3297,7 @@ DK: partitur,
 S: partitur,
 FI: partituuri.
 
-A copy of orchestral, choral or chamber music showing what each instrument is
+A copy of orchestral, choral, or chamber music showing what each instrument is
 to play, each voice to sing, having each part arranged one underneath the
 other on different staves @aref{staff}.
 
@@ -3335,9 +3332,9 @@ tones on the piano keyboard -- including black and white keys -- is a
 semitone.  An octave may be divided into 12@w{ }semitones.
 @aref{interval}, @aref{chromatic scale}.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
-\notes\relative c'' { g1 gis s a bes s b! c }
+\relative c'' { g1 gis s a bes s b! c }
 @end lilypond
 
 @aitem{seventh}
@@ -3497,10 +3494,10 @@ FI: sonaattimuoto.
 A form used frequently for single movements of the @aref{sonata},
 @aref{symphony}, quartet, etc.  A movement written in sonata form
 falls into three sections called @emph{exposition}, @emph{development} and
-@emph{recapitulation}.  In the exposition the composer introduces his musical
-ideas, consisting of a number of themes; in the development section he
-"develops" this material, and in the recapitulation he repeats the exposition,
-with certain modifications, however.  The exposition contains a number of themes
+@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 repeats the exposition,
+with certain modificationsr.  The exposition contains a number of themes
 which fall into two groups, often called first and second subject.  Other
 melodies occurring in each group are considered as continuations of these
 two.  The second theme is in another key, normally in the key of the
@@ -3533,17 +3530,17 @@ FI: staccato, lyhyesti, ter@"av@"asti.
 Playing the note(s) short.  Staccato is indicated by a dot above or below the
 note head.
 
-@lilypond
+@lilypond[fragment]
 \key d \major
 \time 4/4
-\notes\relative c'' {
+\relative c'' {
   \partial 8 a8 |
   d4-\staccato cis-\staccato b-\staccato cis-\staccato |
   d2. \bar "||"
 }
 @end lilypond
 
-@aitem{staff}
+@aitemii{staff,pl. staves}
 ES: pentagrama,
 I: pentagramma, rigo (musicale),
 F: port@'ee,
@@ -3553,7 +3550,7 @@ DK: nodesystem,
 S: notsystem,
 FI: nuottiviivasto.
 
-pl. staves.  A series of (normally@w{ }5) horizontal lines upon and between
+A series of (normally@w{ }5) horizontal lines upon and between
 which the musical notes are written, thus indicating (in connection
 with a @aref{clef}) their pitch.  Staves for
 @aref{percussion} instruments may have fewer lines.
@@ -3571,11 +3568,11 @@ FI: nuottipalkki.
 Vertical line above or below a @aref{note head} shorter than a
 whole note.  @aref{beam}.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.autoBeaming = ##f
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
-\notes\relative c'' {
+\relative c'' {
   g2_"1/2" g' s16
   g,4_"1/4" g' s16
   g,8_"1/8" g' s16
@@ -3699,9 +3696,9 @@ with a regularly recurrent accent on the first beat of each group.  Any
 deviation from this scheme is felt as a disturbance or contradiction between
 the underlaying (normal) pulse and the actual (abnormal) rhythm.
 
-@lilypond
+@lilypond[fragment]
 \time 4/4
-\notes\relative c' {
+\relative c' {
   \partial 4
   d8 dis |
   e c'4 e,8 c'4 e,8 c' ( |  c2)
@@ -3715,7 +3712,7 @@ D: syntonisches Komma,
 NL: syntonische komma,
 DK: syntonisk komma,
 S: syntoniskt komma,
-FI: syntoninen komma, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a.
+FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a.
 
 Difference between the natural third and the third obtained by Pythagorean
 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
@@ -3837,9 +3834,9 @@ A method of indicating an accompaniment part by the bass notes only, together
 with figures designating the chief @aref{interval}s and
 @aref{chord}s to be played above the bass notes.
 
-@lilypond
+@lilypond[fragment]
 \context GrandStaff <<
-  \context Staff = lh \notes\relative c'' {
+  \context Staff = lh \relative c'' {
     \time 4/4
     \key es \major
     \clef treble
@@ -3851,8 +3848,8 @@ 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 }
     >>
   }
-  \addlyrics
-    \context Staff = rh \notes\relative c' {
+  \oldaddlyrics
+    \context Staff = rh \relative c' {
     \clef bass
     \key es \major
     es8 c d bes c as bes16 as g f | es4
@@ -3879,9 +3876,9 @@ A curved line, identical in appearance with the @aref{slur}, which
 connects two succesive notes of the same pitch, and which has the function of
 uniting them into a single sound equal to the combined durations.
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
-\notes\relative c'' { g2 ~ g4. }
+\relative c'' { g2 ~ g4. }
 @end lilypond
 
 @aitem{time signature}
@@ -3936,17 +3933,17 @@ FI: transponointi.
 Shifting a melody up or down in pitch, while keeping the same
 relative pitches.
 
-@lilypond
+@lilypond[fragment]
 \context Staff {
   \time 3/4
-  \notes\relative c'' {
+  \relative c'' {
     \key g \major
     d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
   }
 }
 @end lilypond
 
-@lilypond
+@lilypond[fragment]
 \context Staff {
   \time 3/4
   \transpose c bes \relative c'' {
@@ -3984,10 +3981,10 @@ the same tone, produced by a rapid up-and-down movement movement of the bow
 a @aref{chord}, usually in the distance of a third
 (@aref{interval}).
 
-@lilypond[notime]
+@lilypond[fragment,notime]
 \set Score.automaticBars = ##f
 %\override Score.TextScript   #'font-style = #'large
-\notes\relative c' {
+\relative c' {
   e2:32_"a"
   f:32 [ e8:16 f:16 g:16 a:16 ] s4
   \repeat "tremolo" 8 { e32_"b" g }
@@ -4077,7 +4074,7 @@ DK: dobbeltslag,
 S: dubbelslag,
 FI: korukuvio.
 
-???
+@aref{ornament}.
 
 @aitem{unison}
 ES: un@'{@dotless{i}}sono,
@@ -4106,10 +4103,10 @@ FI: kohotahti.
 Initial note(s) of a melody occurring before the first bar
 line.  @aref{measure}, @aref{meter}.
 
-@lilypond
+@lilypond[fragment]
 \key f \major
 \time 4/4
-\notes\relative c' {
+\relative c' {
   \partial 4 f4 | bes4. a8 bes4 c |
   bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
 @end lilypond
@@ -4199,7 +4196,7 @@ symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
 
 @page
 
-@table @strong
+@table @samp
 @item DURATION NAMES, NOTES AND RESTS
 @end table
 
@@ -4262,7 +4259,7 @@ sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
 
 @page
 
-@table @strong
+@table @samp
 @item PITCH NAMES
 @end table
 
@@ -4328,7 +4325,7 @@ ais @tab ais @tab ais
 
 @
 
-@table @strong
+@table @samp
 
 @item ---------------------
 
@@ -4343,6 +4340,8 @@ Hugo Riemanns Musiklexicon, Berlin 1929.
 Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.
 
+Webster's Revised Unabridged Dictionary, Springfield 1913.
+
 @end table
 
 @bye