Docs: MG: general tidy-up

diff --git a/Documentation/music-glossary.tely b/Documentation/music-glossary.tely
index c1762ecf2b1e947fb481040758a70c9374a6ade7..2f8d12b9774b209f701ab0dd3cae18c648a8964b 100644 (file)
--- a/Documentation/music-glossary.tely
+++ b/Documentation/music-glossary.tely
@@ -583,17 +583,18 @@ DK: ?,
 S: ?,
 FI: kahdelle.
 
 S: ?,
 FI: kahdelle.
 

-Abbreviated @notation{a2} or @notation{a 2}.  In orchestral scores, @notation{a
-due} indicates that:
+Abbreviated @notation{a2} or @notation{a 2}.  In orchestral scores,
+@notation{a due} indicates that:

 
 @enumerate
 
 
 @enumerate
 

-@item A single part notated on a single staff that normally carries parts for
-two players (e.g. first and second oboes) is to be played by both players.
+@item A single part notated on a single staff that normally carries parts
+for two players (e.g. first and second oboes) is to be played by both
+players.

 
 

-@item Or conversely, that two pitches or parts notated on a staff that normally
-carries a single part (e.g. first violin) are to be played by different players,
-or groups of players (@q{desks}).
+@item Or conversely, that two pitches or parts notated on a staff that
+normally carries a single part (e.g. first violin) are to be played by
+different players, or groups of players (@q{desks}).

 
 @end enumerate
 
 
 @end enumerate
 


@@ -659,9 +660,8 @@ S: ?,
 FI: ?.
 
 A grace note which takes its time from the rest or note preceding the
 FI: ?.
 
 A grace note which takes its time from the rest or note preceding the

-principal note to which it is attached. The acciaccatura is drawn as a
-small eighth note (quaver) with a line drawn through the flag and
-stem.
+principal note to which it is attached. The acciaccatura is drawn as a small
+eighth note (quaver) with a line drawn through the flag and stem.

 
 @seealso
 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
 
 @seealso
 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.


@@ -685,14 +685,14 @@ An accidental alters a note by:
 
 @item Raising its pitch:
 @itemize
 
 @item Raising its pitch:
 @itemize

-@item By two semitones (a whole tone)—@notation{double sharp}
+@item By two semitones—@notation{double sharp}

 @item By one semitone—@notation{sharp}
 @end itemize
 
 @item Lowering its pitch:
 @itemize
 @item By one semitone—@notation{flat}
 @item By one semitone—@notation{sharp}
 @end itemize
 
 @item Lowering its pitch:
 @itemize
 @item By one semitone—@notation{flat}

-@item By two semitones (a whole tone)—@notation{double flat}
+@item By two semitones—@notation{double flat}

 @end itemize
 
 @item Or canceling the effects of the key signature or previous accidentals.
 @end itemize
 
 @item Or canceling the effects of the key signature or previous accidentals.


@@ -747,8 +747,8 @@ FI: adagio, hitaasti.
 
 @itemize
 
 
 @itemize
 

-@item Slow tempo, slower -- especially in even meter -- than @notation{andante}
-and faster than @notation{largo}.
+@item Slow tempo, slower -- especially in even meter -- than
+@notation{andante} and faster than @notation{largo}.

 
 @item A movement in slow tempo, especially the second (slow) movement
 of sonatas, symphonies, etc.
 
 @item A movement in slow tempo, especially the second (slow) movement
 of sonatas, symphonies, etc.


@@ -807,7 +807,7 @@ Since one does not crescendo @emph{to} nothing, it is not correct to use
 
 ES: ?,
 I: ?,
 
 ES: ?,
 I: ?,

-F: alla breve,à la brève,
+F: alla breve, à la brève,

 D: ?,
 NL: ?,
 DK: ?,
 D: ?,
 NL: ?,
 DK: ?,


@@ -816,15 +816,17 @@ FI: ?.
 
 [Italian: @q{on the breve}]  Twice as fast as the notation indicates.
 
 
 [Italian: @q{on the breve}]  Twice as fast as the notation indicates.
 

-Also called @notation{in cut-time}.  The name derives from mensural notation,
-where the @notation{tactus} (or beat) is counted on the semibreve (the modern
-whole note).  Counting @q{on the breve} shifts the tactus to the next longest
-note value, which (in modern usage) effectively halves all note values.
+Also called @notation{in cut-time}.  The name derives from mensural
+notation, where the @notation{tactus} (or beat) is counted on the semibreve
+(the modern whole note).  Counting @q{on the breve} shifts the tactus to the
+next longest note value, which (in modern usage) effectively halves all note
+values.

 
 

-(In mensural notation, breves and semibreves can have a ternary relationship, in
-which case @notation{alla breve} means thrice (not twice) as fast.  In practice,
-this complication may not have mattered, since Gaffurius's system of multiplex
-proportions makes it easy to explicitly state which proportion is needed.)
+In mensural notation, breves and semibreves can have a ternary relationship,
+in which case @notation{alla breve} means thrice (not twice) as fast.  In
+practice, this complication may not have mattered, since Gaffurius's system
+of multiplex proportions makes it easy to explicitly state which proportion
+is needed.

 
 @seealso
 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
 
 @seealso
 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},


@@ -883,9 +885,9 @@ DK: alt,
 S: alt,
 FI: altto, matala naisääni.
 
 S: alt,
 FI: altto, matala naisääni.
 

-A female voice of low range (@emph{contralto}).  Originally the alto
-was a high male voice (hence the name), which by the use of falsetto
-reached the height of the female voice.  This type of voice is also
+A female voice of low range (@emph{contralto}).  Originally the alto was a
+high male voice (hence the name), which by castration or the use of falsetto
+reached the height of the natural female voice.  This type of voice is also

 known as countertenor.
 
 @seealso
 known as countertenor.
 
 @seealso


@@ -1604,7 +1606,7 @@ lines.
 }
 \addlyrics {
   \override Lyrics . LyricText #'self-alignment-X = #LEFT
 }
 \addlyrics {
   \override Lyrics . LyricText #'self-alignment-X = #LEFT

-  "Soprano  " "Mezzosoprano  " "Alto  " "Tenor  " Baritone
+  "Soprano     " "Mezzosoprano " "Alto        " "Tenor       " "Baritone    "

 }
 @end lilypond
 
 }
 @end lilypond
 


@@ -1700,8 +1702,8 @@ 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 semitone).
+Logarithmic unit of measuring pitch differences.  1@tie{}cent is 1/1200 of
+an octave (1/100 of an equally tempered semitone).

 
 @seealso
 @ref{equal temperament}, @ref{semitone}.
 
 @seealso
 @ref{equal temperament}, @ref{semitone}.


@@ -1755,7 +1757,7 @@ minor.
     "diminished  "
     "augmented  "
     "seventh-chord  "
     "diminished  "
     "augmented  "
     "seventh-chord  "

-    ninth-chord
+    "ninth-chord"

   }
 >>
 @end lilypond
   }
 >>
 @end lilypond


@@ -2207,7 +2209,7 @@ A meter that includes a triplet subdivision within the beat: see
 
 @item
 A time signature that additively combines two or more unequal meters, e.g.,
 
 @item
 A time signature that additively combines two or more unequal meters, e.g.,

-"3/8 + 2/8" instead of "5/8".  Sometimes called additive time signatures.
+@q{3/8 + 2/8} instead of @q{5/8}.  Sometimes called additive time signatures.

 
 @end enumerate
 
 
 @end enumerate
 


@@ -2300,9 +2302,10 @@ are, technically speaking, @emph{transposing instruments}:
 
 @itemize
 
 
 @itemize
 

-@item piccolo (plays an octave higher)
-@item celesta (plays an octave higher)
-@item double bass (plays an octave lower)
+@item piccolo (plays an octave higher than written)
+@item celesta (plays an octave higher than written)
+@item classical guitar (plays an octave lower than written)
+@item double bass (plays an octave lower than written)

 
 @end itemize
 
 
 @end itemize
 


@@ -2488,18 +2491,18 @@ g4\< a b c | d1\! \bar "|."
 
 ES: notas guía,
 I: notine,
 
 ES: notas guía,
 I: notine,

-F: petites notes précédant l'entrée d'un instrument, réplique, "à défaut",
+F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},

 D: Stichnoten,
 NL: stichnoten,
 DK: stiknoder,
 S: inprickningar,
 FI: vihjenuotit.
 
 D: Stichnoten,
 NL: stichnoten,
 DK: stiknoder,
 S: inprickningar,
 FI: vihjenuotit.
 

-In a separate part notes belonging to another part with the purpose of
-hinting when to start playing.  Usually printed in a smaller type.
+Notes belonging to one part printed in another to hint when to start
+playing.  Usually printed in a smaller type.

 
 @seealso
 
 @seealso

-No cross-references.
+Compare: @ref{ossia}.

 
 
 @node custos
 
 
 @node custos


@@ -4469,10 +4472,10 @@ S: intervall,
 FI: intervalli, kahden sävelen korkeusero.
 
 Difference in pitch between two notes.  Intervals may be diminished, minor,
 FI: intervalli, kahden sävelen korkeusero.
 
 Difference in pitch between two notes.  Intervals may be diminished, minor,

-perfect, major, or augmented.  The augmented fourth and the diminished fifth are
-identical (or @emph{enharmonic}) and are called @emph{tritonus} because they
-consist of three whole tones.  The addition of such two intervals forms an
-octave.
+perfect, major, or augmented.  The augmented fourth and the diminished fifth
+are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
+and are called @emph{tritonus} because they consist of three whole tones.
+The addition of such two intervals forms an octave.

 
 @lilypond[quote,notime,line-width=13.0\cm]
 <<
 
 @lilypond[quote,notime,line-width=13.0\cm]
 <<


@@ -5425,9 +5428,11 @@ Compound quadruple meter (P. Yon, 1886-1943):
   \bar "||"}
 @end lilypond
 
   \bar "||"}
 @end lilypond
 

+@ignore

 @b{@q{Monometer} vs Polymeter}
 
 TODO: add information from discussion on lilypond-user related to polymeter.
 @b{@q{Monometer} vs Polymeter}
 
 TODO: add information from discussion on lilypond-user related to polymeter.

+@end ignore

 
 @seealso
 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
 
 @seealso
 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}


@@ -6090,8 +6095,7 @@ the upper note is played first.
 @end lilypond
 
 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
 @end lilypond
 
 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and

-the
-@emph{prall} (inverted mordent).
+the @emph{prall} (inverted mordent).

 
 @lilypond[quote,line-width=13.0\cm]
 <<
 
 @lilypond[quote,line-width=13.0\cm]
 <<


@@ -6131,7 +6135,7 @@ score, usually only a few measures long, which presents another version
 of the music, for example for small hands.
 
 @seealso
 of the music, for example for small hands.
 
 @seealso

-No cross-references.
+Compare: @ref{cue-notes}.

 
 
 @node part
 
 
 @node part


@@ -6754,7 +6758,7 @@ DK: rallentando,
 S: rallentando,
 FI: rallerdando, hidastuen.
 
 S: rallentando,
 FI: rallerdando, hidastuen.
 

-[Italian] A performance indication, abbreviated "rall.".
+[Italian] A performance indication, abbreviated @notation{rall.}.

 
 @seealso
 @ref{ritardando}.
 
 @seealso
 @ref{ritardando}.


@@ -6851,9 +6855,9 @@ FI: rytmi.
 @itemize
 
 @item Metrical rhythm in which every time value is a multiple or
 @itemize
 
 @item Metrical rhythm in which every time value is a multiple or

-fraction of a fixed unit of time, called @ref{beat}, and in which the
-normal @ref{accent} recurs in regular intervals, called @ref{measure}.
-The basic scheme of time values is called @ref{meter}.
+fraction of a fixed unit of time, called @emph{beat}, and in which the
+normal @emph{accent} recurs in regular intervals, called @emph{measure}.
+The basic scheme of time values is called @emph{meter}.

 
 @item Measured rhythm which lacks regularly recurrent accent.  In
 modern notation such music appears as a free alternation of different
 
 @item Measured rhythm which lacks regularly recurrent accent.  In
 modern notation such music appears as a free alternation of different


@@ -6865,8 +6869,7 @@ metrical unit (beat).
 @end itemize
 
 @seealso
 @end itemize
 
 @seealso

-No cross-references.
-
+@ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.

 
 @node ritardando
 @section ritardando
 
 @node ritardando
 @section ritardando


@@ -7664,7 +7667,6 @@ A symphony may be defined as a @emph{sonata} for orchestra.
 @ref{sonata}.
 
 
 @ref{sonata}.
 
 

-

 @node syncopation
 @section syncopation
 
 @node syncopation
 @section syncopation
 


@@ -8571,13 +8573,13 @@ No cross-references.
 
 @end multitable
 
 
 @end multitable
 

-* About the French naming system: @emph{croche} refers to the note's "hook". 
-Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
-hook}, @q{trebled hook}, and so on.
+* About the French naming system: @notation{croche} refers to the note's
+@q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
+@q{doubled hook}, @q{trebled hook}, and so on.

 
 

-The rest names are based on the @emph{soupir}, or quarter rest.  Subsequent
-rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
-a @emph{soupir}, and so on.
+The rest names are based on the @notation{soupir}, or quarter rest. 
+Subsequent rests are expressed as fractions thereof: half a
+@notation{soupir}, a quarter of a @notation{soupir}, and so on.

 
 Each of the following tables contains one type of note and its matching rest,
 with abbreviations that apply to both notes and rests.  Just switch the part
 
 Each of the following tables contains one type of note and its matching rest,
 with abbreviations that apply to both notes and rests.  Just switch the part


@@ -8591,9 +8593,9 @@ that means @q{note} with the part that means @q{rest}, for example:
 
 @end itemize
 
 
 @end itemize
 

-I put a dash @q{-} when I could not find a language-specific abbreviation for a
-duration name.  If you know of one that I missed, please send it to me, care of
-the lilypond-user discussion list.
+Editor's note: I put a dash @q{-} when I could not find a language-specific
+abbreviation for a duration name.  If you know of one that I missed, please
+send it to me, care of the lilypond-user discussion list.

 
 @multitable @columnfractions .10 .35 .35 .20
 
 
 @multitable @columnfractions .10 .35 .35 .20
 


@@ -8787,55 +8789,56 @@ the lilypond-user discussion list.
 @node Pitch names
 @chapter Pitch names
 
 @node Pitch names
 @chapter Pitch names
 

-@c -is/-es endings for Danish per Rune Zedeler, pace
-@c and for Finnish per Risto Vääräniemi
-@c -iss/-ess endings for Swedish per Mats Bengtsson
-@c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
+@ignore
+       -is/-es endings for Danish per Rune Zedeler, pace,
+       and for Finnish per Risto Vääräniemi;
+       -iss/-ess endings for Swedish per Mats Bengtsson
+       originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
+
+       NOTE: Please leave the first line as-is -- that is, do not wrap it to
+       multiple lines -- as texinfo needs it to allow enough space for the
+       table entries.  (For the curious, it's a list of the widest items in
+       each column of the table.  Romance pitch names are two characters,
+       except for g (sol) ... so there you go.)
+@end ignore

 
 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
 
 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}

-@headitem EN
-  @tab ES @tab I @tab F @tab D
-  @tab NL @tab DK @tab S @tab FI
-@item @strong{c} @tab do @tab do @tab ut @tab C
-  @tab c @tab c @tab c @tab c
-@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
-  @tab cis @tab cis @tab ciss @tab cis
+@headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI
+@item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
+@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
+  @tab Cis @tab cis @tab cis @tab ciss @tab cis

 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
   @tab des @tab des @tab dess @tab des
 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
   @tab des @tab des @tab dess @tab des

-@item @strong{d} @tab re @tab re @tab ré @tab D
-  @tab d @tab d @tab d @tab d
+@item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d

 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
   @tab dis @tab dis @tab diss @tab dis
 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
   @tab es @tab es @tab ess @tab es
 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
   @tab dis @tab dis @tab diss @tab dis
 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
   @tab es @tab es @tab ess @tab es

-@item @strong{e} @tab mi @tab mi @tab mi @tab E
-  @tab e @tab e @tab e @tab e
-@item @strong{f-flat} = e
-  @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
-  @tab fes @tab fes @tab fess @tab fes
-@item @strong{f} @tab fa @tab fa @tab fa @tab F
-  @tab f @tab f @tab f @tab f
-@item @strong{e-sharp} = f
-  @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
-  @tab eis @tab eis @tab eiss @tab eis
+@item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
+@item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol
+  @tab Fes @tab fes @tab fes @tab fess @tab fes
+@item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
+@item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse
+  @tab Eis @tab eis @tab eis @tab eiss @tab eis

 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
   @tab fis @tab fis @tab fiss @tab fis
 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
   @tab ges @tab ges @tab gess @tab ges
 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
   @tab fis @tab fis @tab fiss @tab fis
 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
   @tab ges @tab ges @tab gess @tab ges

-@item @strong{g} @tab sol @tab sol @tab sol @tab G
-  @tab g @tab g @tab g @tab g
-@item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
-  @tab gis @tab gis @tab giss @tab gis
+@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
+@item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse
+  @tab Gis @tab gis @tab gis @tab giss @tab gis

 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
   @tab as @tab as @tab ass @tab as
 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
   @tab as @tab as @tab ass @tab as

-@item @strong{a} @tab la @tab la @tab la @tab A
-  @tab a @tab a @tab a @tab a
+@item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a

 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
   @tab ais @tab ais @tab aiss @tab ais
 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
   @tab bes @tab b @tab b @tab b
 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
   @tab ais @tab ais @tab aiss @tab ais
 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
   @tab bes @tab b @tab b @tab b

-@item @strong{b} @tab si @tab si @tab si @tab H
-  @tab b @tab h @tab h @tab h
+@item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
+@item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
+  @tab ces @tab ces @tab cess @tab ces
+@item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
+  @tab His @tab bis @tab his @tab hiss @tab his

 @end multitable
 
 
 @end multitable