From 4b86515cdc9051fa301def3b781b35759c7bafc9 Mon Sep 17 00:00:00 2001
From: fred <fred>
Date: Wed, 1 Mar 2000 10:57:38 +0000
Subject: [PATCH] lilypond-1.3.28

---
 Documentation/user/glossary.tely | 2614 ++++++++++++++++++++++++++++++
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diff --git a/Documentation/user/glossary.tely b/Documentation/user/glossary.tely
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+
+\input texinfo
+@setfilename glossary.info
+
+@c @everyheading @| @thispage @|
+@evenheading @thispage @| @| 
+@oddheading @| @| @thispage @|
+
+@itemize 
+
+@item I - Italian 
+@item F - French 
+@item D - German 
+@item NL - Nederlands 
+@item UK - British English 
+@item DK - Danish 
+@item S - Swedish
+@item N - Norwegian 
+@end itemize
+
+@ 
+
+@macro ar{}
+@iftex
+@tex $\\Rightarrow$ @end tex
+@end iftex
+@ifhtml
+-->
+@end ifhtml
+@ifinfo
+-->
+@end ifinfo
+@end macro
+
+A reference is indicated by @ar{} followed by the term in @strong{boldface}. 
+
+@table @strong
+
+@item A
+I: la, F: la,  D: A, a, NL: a, DK: a, S: a, N: a.
+
+@item accent
+I: accento, F: accent, D: Akzent, NL: accent, DK: accent, S: accent, N: 
+
+The stress of one tone over others.
+
+@item accidental
+I: alterazione, accidente, F: alt@'eration accidentelle, D: Vorzeichen,
+Versetzungszeichen, NL: voorteken, DK: l@o{}st fortegn, S: f@"ortecken, N:
+
+@c F: alt@'eration accidentelle,  D: Vorzeichen, Versetzungszeichen,
+@c Akzidenz, NL: toevallig teken, I: accidento.  
+
+A sharp raises a tone by a @w{@ar{}@strong{semitone}}, a double sharp raises it
+by a @ar{}@strong{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.
+
+@
+
+@mudela[13pt,eps]
+\property Score.barNonAuto = "1"
+\property Voice.textStyle = "large"
+\notes\relative c'' {
+  gis1_"sharp" s s2
+  gisis1_"db. sharp" s s2
+  ges1_"flat" s s2
+  geses1_"db. flat" s s2
+  g!1_"natural"
+}
+@end mudela
+
+@item adagio
+I: adagio, F: , D: Adagio, Langsam, NL: adagio, DK: adagio, S: adagio, N:
+adagio.
+
+It. comfortable, easy. 1. Slow tempo, slower - especially in even meter - than
+@w{@ar{}@strong{andante}} and faster than @w{@ar{}@strong{largo}}. 2. A
+movement in slow tempo, esepecially the scond (slow) movement of
+@w{@ar{}@strong{sonata}s}, symphonies etc.
+
+@item accelerando 
+I: accelerando, F: , D: accelerando, Schneller, NL: accelerando, DK:
+accelerando, S: accelerando, N:
+
+Stil faster tempo.
+
+@item allegro
+I: allegro, F: , D: Allegro, Schnell, Fr@"ohlich, Lustig, NL: allegro, DK:
+allegro, S: allegro, N: allegro.
+
+It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
+especially the first and last movements of a @w{@ar{}@strong{sonata}}.
+
+@item alto
+I: contralto, F: alto,  D: Alt, NL: alt, DK: alt, S: alt, N: alt.
+
+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
+height of the female voice. This type of voice is also known as
+@w{@ar{}@strong{counter tenor}}.
+
+@item alto clef
+@c F: cl@'e d'ut, D: Altschl@"ussel, Bratschenschl@"ussel, NL: altsleutel, I:
+chiave di tenore.
+
+I: chiave di contralto, F: , D: Altschl@"ussel, Bratschenschl@"ussel, NL: alt
+sleutel, DK: altn@o{}gle, S: altklav, N:
+
+C clef setting central C on the middle line of the staff 
+@w{@ar{}@strong{C clef}}
+
+@item ancient minor scale
+I: scala minore naturale, F: forme du mode mineur ancien, trois@`eme mode,
+mode hell@'enique D: reines Moll, NL: , DK: ren mol, S: ren mollskala, N: .
+
+@
+
+@mudela[13pt,eps]
+\property Score.barNonAuto = "1"
+\notes\relative c'' {
+a1 b c d e f g a }
+@end mudela
+
+@item andante
+I: andante, F: , D: Andante, NL: andante, DK: andante, S: andante,
+N: andante. 
+
+walking tempo/character
+
+@item appoggiatura 
+I: appoggiatura, F: port de voix, D: Vorschlag, NL: voorslag, DK: forslag, S:
+f@"orslag, N:
+
+Ornamental note, usually a second, that is melodically connected with the main
+note that follows it. In music before the 19'th 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 proportionate to that of the main note. 
+
+@
+
+@mudela[13pt,eps]
+\property Voice.textEmptyDimension = "1"
+\property Voice.textStyle = "large"
+\notes\relative c'' {
+\key d;
+\time 4/4;
+<d4_"notation" a fis> r 
+{ \property Grace.stemStyle = ""
+  \grace g16 }
+fis8 e16 fis 
+{ \property Grace.stemStyle = ""
+  \grace a16 }
+g8 fis16 g | a4 \bar "||"; }
+\notes\relative c'' {
+<d4_"performance" a fis> r g16 () fis e fis a () g fis g | a4 \bar "||"; }
+@end mudela
+
+An appoggiatura may have more notes preceding the main note.
+
+@
+
+@mudela[13pt,eps]
+\property Voice.textEmptyDimension = "1"
+\property Voice.textStyle = "large"
+\notes\relative c'' {
+  \key as;
+  \time 2/4;
+  \grace { bes16 } as8_"notation" as16 bes as8 g |
+  \grace { [as16 ( bes] } < ) c4 as > 
+  \grace { [as16 ( bes] } < ) c4 as > \bar "||";
+  \grace { bes16 } as8_"performance" as16 bes as8 g |
+  < \context Voice = va { \stemup as32 bes c8. as32 bes c8. }
+    \context Voice = vb { \stemdown as16 ~ as8. as16 ~ as8. } >
+  \bar "||";
+}
+@end mudela
+
+@item arpeggio
+I: arpeggio, F: arp@`ege, arp@`egement, D: Arpeggio, Akkordbrechungen,
+gebrochener Akkord, NL: gebroken akoord, DK: arpeggio,
+akkordbrydning, S: arpeggio, N:
+
+@
+
+@mudela[13pt,eps]
+\context GrandStaff <
+  \notes\relative c'' { 
+    \time 4/4;
+    \clef treble; 
+    r8 g16 c e g, c e r8 g,16 c e g, c e |
+    r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||"; }
+  \notes\relative c' {
+    \clef bass; 
+    < \context Voice = va { 
+        \stemup 
+        r16 e8. () e4 r16 e8. () e4 |
+        r16 d8. () d4 r16 d8. () d4 }
+      \context Voice = vb { 
+        \stemdown 
+        c2 c | c c } >
+  }
+>
+@end mudela
+
+@item ascending interval
+I: intervallo ascendente, F: intervalle ascendant, D: steigendes Intervall,
+NL: stijgend interval, DK:@w{ }stigende interval, S: stigande intervall, N:
+
+@item augmented interval
+I: intervallo aumentato, F: intervalle augment@'e, D: @"uberm@"a@ss{}iges
+Intervall, NL: overmatig interval, DK: forst@o{}rret interval, S:
+@"overstigande intervall, N:
+
+@w{@ar{}@strong{interval}}
+
+@item autograph	
+I: autografo, F: , D: Autograph, Handschrift, NL: , DK: h@aa{}ndskrift,
+autograf, S: handskrift, N: .
+
+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, which attempts to emulate
+engraving. This required more skill than did engraving.
+
+@item B
+I: si, F: si,  D: H, h, NL: b, DK: h, S: h, N: h.
+
+@item backfall; forefall 
+@w{@ar{}@strong{appoggiatura}}
+
+@item bar line
+I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, NL:
+maatstreep, DK: taktstreg, S: taktstreck, N:
+
+@item bar
+@w{@ar{}@strong{measure}}
+
+@item baritone
+I: baritono, F: bariton, D: Bariton, NL: bariton, DK: baryton, S: baryton, N:
+baryton.
+
+The male voice intermediate between the @w{@ar{}@strong{bass}} and the
+@w{@ar{}@strong{tenor}}.
+
+@item bariton clef
+I: chiave di baritono, F: , D: Barytonschl@"ussel, NL: baritonsleutel, DK:
+barytonn@o{}gle, S: barytonklav, N: .
+
+C or F clef setting central C on the upper staff line. @w{@ar{}@strong{c clef}}
+@w{@ar{}@strong{f clef}}
+
+@item bass clef
+I: chiave di basso, F: cl@'e de fa, D: Bass-Schl@"ussel, NL: bassleutel, DK:
+basn@o{}gle, S: basklav, N:
+
+A clef setting with central C on the first top ledger line. @w{@ar{}@strong{f
+clef}}
+
+@item bass
+I: basso, F: basse, D: Bass, NL: bas, DK: bas, S: bas, N: bas.
+
+1. The lowest of men's voices. 2. Sometimes, especially in jazz music, used as
+an abbreviation for double bass @w{@ar{}@strong{strings}}.
+
+@item beam
+I: coda, F: barre, D: Balken, NL: waardestreep, DK: bj@ae{}lke, S: balk, N:
+
+Line connecting a series of notes (shorter than a quarter note). The number of
+beams determine the note value of the connected notes.
+
+@
+
+@mudela[13pt,eps]
+\property Score.barNonAuto = "1"
+\property Voice.textEmptyDimension = "1"
+\property Voice.textStyle = "large"
+\notes\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
+  [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
+@end mudela
+
+@item beat
+I: tempi, F: temps, D: Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S:
+taktslag, N:
+
+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.
+
+@
+
+@mudela[13pt,eps]
+\key g;
+\time 4/4;
+\notes\relative c'' { g4 c b a | g1 \bar "||";}
+\time 3/8;
+\notes\relative c'' { g8 d' c | b c a | g4. \bar "||";}
+@end mudela
+
+@item bind
+@w{@ar{}@strong{tie}}
+
+@item brace
+I: graffa, F: accolade, D: Klammer, Klavierklammer, Akkolade, Chorklammer, NL:
+accolade, teksthaak, DK: klamme, S: klammer, N:
+
+Symbol at the start of a system connecting staffs. Curly braces are used
+for connecting piano staves, angular brackets for connecting parts in an
+orchestral or choral score.
+
+@
+
+@mudela[13pt,eps] 
+\context GrandStaff < 
+  \property GrandStaff.minVerticalAlign = 12
+  \notes\relative c'' { \clef treble; g4 e c2 }
+  \notes\relative c { \clef bass; c1 \bar "|."; } > 
+@end mudela
+
+@
+
+@mudela[13pt,eps] 
+\context StaffGroup < 
+  \property StaffGroup.minVerticalAlign = 12
+  \notes\relative c'' { \clef treble; g4 e c2 }
+  \notes\relative c { \clef bass; c1 \bar "|."; } > 
+@end mudela
+
+@item brass
+I: ottoni, D: Blechbl@"aser, NL: koper (blazers), F: instruments de cuivre,
+DK: messingbl@ae{}sere, S: brassinstrument, m@"assingsinstrument, N:
+
+A family of blown musical instruments made of brass all using a cup formed
+mouth piece. The brass instruments commonly used in a symphony orchestra are
+trumpet, trombone, french horn and tube.
+
+@item breath mark
+I: respiro, F: respiration, D: Atemzeichen, Trennungszeichen, NL:
+repercussieteken, DK:
+vejrtr@ae{}kningstegn, S: andningstecken, N: .
+
+@item breve
+I: breve, F: , D: Brevis, NL: brevis, DK: brevis, S: brevis, N:
+
+@w{@ar{}@strong{Note value}} twice as long as a whole note. Mainly used
+in pre-1650 music.
+
+@
+
+@mudela[13pt,eps] 
+\property Score.barNonAuto = "1" 
+\notes\relative c'' { g\breve } 
+@end mudela
+
+@item C
+I: do, F: ut,  D: C, c, NL: c, DK: c, S: c, N: c
+
+@item C clef
+I: chiave di do, F: cl@'e d'ut, D: C-Schl@"ussel, NL: C-sleutel, DK:
+c-n@o{}gle, S: c-klav, N:
+
+Clef symbol indicating the position of the central C. Used on all note
+lines.
+
+@
+
+@mudela[13pt,eps] 
+\property Score.barNonAuto = "1" 
+\property Lyrics.textStyle = "large"
+\property Voice.clefStyle = "fullSizeChanges"
+\addlyrics
+\notes\relative c' { 
+  \clef "C1"; c1 s s
+  \clef "C2"; c s s
+  \clef "C3"; c s s
+  \clef "C4"; c s s
+  \clef "C5"; c s
+}
+\context Lyrics \lyrics { Soprano Mezzosoprano Alto Tenor Baritone }
+@end mudela
+
+@item cadence 
+I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
+
+@w{@ar{}@strong{harmonic cadence}} @w{@ar{}@strong{functional harmony}}
+
+@item cadenza
+I: cadenza, F: fioriture,  D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
+
+An extended, improvisatory style section inserted near the end of
+movement. The purpose of a c. is to give the singer or player a chance to
+exhibit her technichal skill and not the least her ability to improvise. Since
+the middle of the 19'th century, however, most cadences have been written down
+by the composer.
+
+@item canon
+I: canone, F: , D: Kanon, NL: canon, DK: kanon, S: kanon, N: .
+
+@w{@ar{}@strong{counterpoint}}
+
+@item cent
+I: cent, F: , D: Cent, NL: cent, DK: cent, S: cent, N: .
+
+Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
+equally tempered @w{@ar{}@strong{semitone}}) @w{@ar{}@strong{equal temperament}}
+
+@item central C
+@w{@ar{}@strong{middle C}}
+
+@item chord
+I: accordo, F: accord, D: Akkord, NL: akkoord, DK: akkord, S: ackord, N: .
+
+Three or more tones sounding simultaneously. In traditional European music the
+base chord is a @emph{triad} consisting of 2 thirds. @emph{Major} (major +
+minor @w{@ar{}@strong{third}}) as well as @emph{minor} (minor + major third)
+chords may be extended with more thirds. Four- @emph{seventh chords} and five
+tone @emph{ninth} major chords are most often used as dominants
+(@w{@ar{}@strong{functional harmony}}). A special case is chords having no
+third above the lower notes to define their quality as major or minor. Such
+chords are denoted open chords
+
+@
+
+@mudela[13pt,eps] 
+\property Score.barNonAuto = "1"
+\property Voice.textStyle = "large"
+\time 4/4;
+\notes\relative c'' {
+  <g1_"major" b d> 
+  <g_"minor" bes d> 
+  <g_"dimished" bes des>
+  <g_"augmented~" b dis>
+  <g_"seventh-chord~" b d f>
+  <g_"ninth-chord" b d f a>
+}
+@end mudela
+
+@item chromatic scale
+I: scala cromatica, F: gamme chromatique, D: Chromatische Tonleiter, NL:
+chromatische toonladder, DK: kromatisk skala, S: kromatisk skala, N: .
+
+A scale consisting of all 11 @w{@ar{}@strong{semitone}}s.
+
+@
+
+@mudela[13pt,eps] 
+\property Score.barNonAuto = "1" 
+\notes\relative c' { c1 cis e f fis g gis a ais b c }
+@end mudela
+
+@item chromaticism
+I: cromatismo, F: , D: Chromatik, NL: chromatiek, DK: kromatik, S: kromatik,
+N:
+
+Use of tones extraneous to a @w{@ar{}@strong{diatonic scale}} (minor, major).
+
+@item church mode; ecclesiastical mode 
+I: modi ecclesiastici, F: mode eccl@'esiastique, D: Kirchentonart, NL:
+kerktoonladder, DK: kirketoneart, S: kyrkotonart, N:
+
+@w{@ar{}@strong{diatonic scale}}
+
+@item clef
+I: chiave, F: cl@'e, D: Schl@"ussel, Schl@"ussel, Notenschl@"ussel, NL:
+sleutel, DK: n@o{}gle, S: klav, N:
+
+@w{@ar{}@strong{c clef}} @w{@ar{}@strong{f clef}} @w{@ar{}@strong{g clef}}
+
+@item comma
+I: comma, F: comma,  D: Komma, NL: komma, DK: komma, S: komma, N:
+
+Difference in pitch between a note derived from pure tuning and the same note
+derived from some other tuning method. @w{@ar{}@strong{temperament}}
+
+@item common meter
+@w{@ar{}@strong{meter}}
+
+@item compound interval
+I: intervallo composto, F: intervalle compos@'e, D: Weites Intervall(?), NL:
+samengesteld interval, DK: sammensat interval, S: sammansatt intervall, N: .
+
+Intervals larger than an octave
+
+@w{@ar{}@strong{interval}}
+
+@item complement
+I: rivolto, F: , D: Komplement@"arintervall, NL: complementair interval, DK:
+komplement@ae{}rinterval, S: komplement@"arintervall (?), N:
+
+@w{@ar{}@strong{inverted interval}}
+
+@item conjunct movement
+I: moto congiunto, F: mouvement conjoint, D: enge Lage(?), NL: , DK: trinvis
+bev@ae{}gelse, S: stegvis r@"orelse, N:
+
+Melody moving in the narrow steps of the scale;
+
+@
+
+@mudela[13pt,eps] 
+\key g; \time 4/4;
+\notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||"; }
+@end mudela
+
+@item consonance 
+I: consonanza, F :consonance, D: Konsonanz, NL: consonant, DK: konsonans, S:
+konsonans, N:
+
+@w{@ar{}@strong{harmony}}
+
+@item contralto
+I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, N:
+
+@w{@ar{}@strong{alto}}
+
+@item counterpoint 
+I: contrappunto, F: contrepoint, D: Kontrapunkt, NL: contrapunt, DK:
+kontrapunkt, S: kontrapunkt, N: .
+
+From latin @emph{punctus contra punctum}, note against note. The combination
+into a single musical fabric of lines or parts which have distinct melodic
+significance. A frequently used polyphonic technique is imitation, in its
+strictest form found in the canon needing only one part to be written down
+while the other parts are performed with a given displacement. Imitation is
+also the contrapuntal technique used in the @emph{fugue} which, since the
+music of the baroque era, has been one of the most popular polyphonic
+composition methods.
+
+@
+
+@mudela[13pt,eps]
+\property Score.timeSignatureStyle = "C2/2"
+\context GrandStaff <
+  \notes\relative c' { 
+    \key bes;
+    \time 4/4;
+    \clef treble; 
+    < \context Voice = rha {
+        \stemup
+        r1 | r2 r8 g'8 bes d, | 
+        cis4 d r8 e!16 f g8 f16 e |
+        f8 g16 a bes8 a16 g a8 
+      }
+      \context Voice = rhb { 
+        \stemdown
+        r1 | r | r | r2 s8
+      }
+    >
+  }
+  \notes\relative c' {
+    \clef bass; 
+    \key bes;
+    < \context Voice = lha {
+        \stemup
+        r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
+        r8 a16 g f8 g16 a bes8 g e! cis' |
+        d4. e!8 f 
+      }
+      \context Voice = lhb { 
+        \stemdown 
+        r1 | r | r | r2 s8
+      } >
+  }
+>
+@end mudela
+
+@item counter tenor
+I: controtenore, F: , D: Kontratenor, NL: contratenor, DK: kontratenor, S:
+kontratenor, counter tenor, N: kontratenor
+
+@w{@ar{}@strong{contralto}}
+
+@item Copying, Music
+A music copyist did fast freehand scores and parts on preprinted staff lines
+for performance. Some of their conventions (e.g.: the placement of noteheads
+on stems) varied slightly from those of engravers. Some of their working
+methods were superior and could well be adopted by music typesetters. This
+required more skill than engraving.
+
+@item crescendo
+I: crescendo, F: crescendo, D: Crescendo, Lauter, NL: crescendo, DK:
+crescendo, S: crescendo, N:@w{ }crescendo.
+
+Increasing volume. Indicated by a rightwards opening horizontal wedge or the
+abbreviation "cresc".
+
+@
+
+@mudela[13pt,eps] 
+\key g; \time 4/4;
+\notes\relative c'' { g4 \< a b c | \! d1 \bar "|."; }
+@end mudela
+
+@item cue-notes
+I: notine, F: , D: Stichnoten, NL: stichnoten, DK: stiknoder, S:
+inprickningar, N:
+
+In a separate part notes belonging to another part with the purpose of hinting
+when to start playing.  Usually printed in a smaller type.
+
+@item D
+I: re, F: r@'e, D: D, d, NL: d, DK: d, S: d, N: d
+
+@item da capo
+I: da capo, F: , D: da capo, von Anfang, NL: da capo, DK: da capo, S: da capo,
+N: .
+
+The term indicates repetition of the piece from the beginning to the end or to
+a certain place marked @emph{fine}. Mostly abbreviated D.C.
+
+@item dal segno
+I: dal segno, F: , D: dal segno, NL: dal segno, DK: dal segno, S: dal
+segno, N: .
+
+abbreviated d.s. Repetition, not from the beginning, but from another place
+frequently near the beginning marked by a sign:
+
+@
+
+@mudela[13pt,eps] 
+\property Voice.textStyle = "large"
+\key g; \time 4/4;
+\notes\relative c'' { d1 | g,4^\segno  a b c | b a g2_"d.s." \bar "|."; }
+@end mudela
+
+@item decrescendo
+I: decrescendo, D: Decrescendo, Leiser, NL: decrescendo, DK: decrescendo, S:
+decrescendo, N: decrescendo
+
+Decreasing tone volume. Indicated by a leftwards opening horizontal wedge  
+or the abbreviation "decresc".
+
+@
+
+@mudela[13pt,eps] 
+\key g; \time 4/4;
+\notes\relative c'' { d4 \> c b a | \! g1 \bar "|."; }
+@end mudela
+
+@item descending interval
+I: intervallo discendente, F: intervalle descendant, D: fallendes Intervall,
+absteigendes Intervall, NL: dalend interval, DK:@w{ }faldende interval, S:
+fallande intervall, N:
+
+@item diatonic scale
+I: scala diatonica, F: , D: diatonische Tonleiter, NL: diatonische toonladder,
+DK: diatonisk skala, S: diatonisk skala, N:
+
+A scale consisting of 5 @w{@ar{}@strong{whole tones}} and 2
+@w{@ar{}@strong{semitones}} (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
+also to some extent in newer jazz music.
+ 
+@
+
+@mudela[13pt,eps] 
+\property Voice.textEmptyDimension = "1"
+\property Score.barNonAuto = "1" 
+\property Lyrics.textStyle = "large"
+\property Voice.textStyle = "large"
+\addlyrics
+\notes\relative c' { 
+  c1 d
+  \property Voice.textScriptPadding = "-10"
+  e^"~~ S" f g a 
+  \property Voice.textScriptPadding = "-4"
+  b^"~~ S" c }
+  \context Lyrics \lyrics { Ionian }
+@end mudela
+
+@mudela[13pt,eps] 
+\property Voice.textEmptyDimension = "1"
+\property Score.barNonAuto = "1" 
+\property Lyrics.textStyle = "large"
+\property Voice.textStyle = "large"
+\addlyrics
+\notes\relative c' { 
+  d1
+ \property Voice.textScriptPadding = "-10"
+  e^"~~ S"
+  f g a 
+  \property Voice.textScriptPadding = "-4"
+  b^"~~ S" c d }
+  \context Lyrics \lyrics { Dorian }
+@end mudela
+
+@mudela[13pt,eps] 
+\property Voice.textEmptyDimension = "1"
+\property Score.barNonAuto = "1" 
+\property Lyrics.textStyle = "large"
+\property Voice.textStyle = "large"
+\addlyrics
+\notes\relative c' { 
+  \property Voice.textScriptPadding = "-10"
+  e1^"~~ S"
+  f g a 
+  \property Voice.textScriptPadding = "-4"
+  b^"~~ S" c d e }
+  \context Lyrics \lyrics { Phrygian }
+@end mudela
+
+@mudela[13pt,eps] 
+\property Voice.textEmptyDimension = "1"
+\property Score.barNonAuto = "1" 
+\property Lyrics.textStyle = "large"
+\property Voice.textStyle = "large"
+\addlyrics
+\notes\relative c' { 
+  f1 g a 
+  \property Voice.textScriptPadding = "-4"
+  b^"~~ S" c d 
+  \property Voice.textScriptPadding = "0"
+  e^"~~ S" f }
+  \context Lyrics \lyrics { Lydian }
+@end mudela
+
+@mudela[13pt,eps] 
+\property Voice.textEmptyDimension = "1"
+\property Score.barNonAuto = "1" 
+\property Lyrics.textStyle = "large"
+\property Voice.textStyle = "large"
+\addlyrics
+\notes\relative c'' { 
+  g1 a 
+  \property Voice.textScriptPadding = "-4"
+  b^"~~ S" c d 
+  \property Voice.textScriptPadding = "0"
+  e^"~~ S" f g }
+  \context Lyrics \lyrics { Mixolydian }
+@end mudela
+
+@mudela[13pt,eps] 
+\property Voice.textEmptyDimension = "1"
+\property Score.barNonAuto = "1" 
+\property Lyrics.textStyle = "large"
+\property Voice.textStyle = "large"
+\addlyrics
+\notes\relative c'' { 
+  a1
+  \property Voice.textScriptPadding = "-4"
+  b^"~~ S" c d 
+  \property Voice.textScriptPadding = "0"
+  e^"~~ S" f g a }
+  \context Lyrics \lyrics { Aeolian }
+@end mudela
+
+From the beginning of the 17th century the scales used in European
+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.
+
+@mudela[13pt,eps] 
+\property Voice.textEmptyDimension = "1"
+\property Score.barNonAuto = "1" 
+\property Lyrics.textStyle = "large"
+\property Voice.textStyle = "large"
+\addlyrics
+\notes\relative c' { 
+  c1 d
+  \property Voice.textScriptPadding = "-10"
+  e^"~~ S" f g a 
+  \property Voice.textScriptPadding = "-4"
+  b^"~~ S" c }
+  \context Lyrics \lyrics { Major }
+@end mudela
+
+@mudela[13pt,eps] 
+\property Voice.textEmptyDimension = "1"
+\property Score.barNonAuto = "1" 
+\property Lyrics.textStyle = "large"
+\property Voice.textStyle = "large"
+\addlyrics
+\notes\relative c'' { 
+  a1
+  \property Voice.textScriptPadding = "-4"
+  b^"~~ S" c d 
+  \property Voice.textScriptPadding = "0"
+  e^"~~ S" f g a }
+  \context Lyrics \lyrics { "ancient minor" }
+@end mudela
+
+@mudela[13pt,eps] 
+\property Voice.textEmptyDimension = "1"
+\property Score.barNonAuto = "1" 
+\property Lyrics.textStyle = "large"
+\property Voice.textStyle = "large"
+\addlyrics
+\notes\relative c'' { 
+  a1
+  \property Voice.textScriptPadding = "-4"
+  b^"~~ S" c d 
+  \property Voice.textScriptPadding = "0"
+  e^"~~ S" 
+  \property Voice.textScriptPadding = "1"
+  f!^"~~ A" 
+  gis^"~~ S" 
+  a }
+  \context Lyrics \lyrics { "Harmonic minor" }
+@end mudela
+
+@mudela[13pt,eps] 
+\property Voice.textEmptyDimension = "1"
+\property Score.barNonAuto = "1" 
+\property Lyrics.textStyle = "large"
+\property Voice.textStyle = "large"
+\addlyrics
+\notes\relative c'' { 
+  a1
+  \property Voice.textScriptPadding = "-4"
+  b^"~~ S" c d e fis 
+  \property Voice.textScriptPadding = "0"
+  gis^"~~ S" a g! 
+  \property Voice.textScriptPadding = "-1"
+  f!^"~~ S" e d 
+  \property Voice.textScriptPadding = "-4"
+  c^"~~ S" b a
+}
+  \context Lyrics \lyrics { "Melodic minor" }
+@end mudela
+
+@item diminished interval
+I: intervallo diminuito, F: intervalle diminu@'e, D: vermindertes Intervall,
+NL: verminderd interval, DK: formindsket interval, S: f@"orminskat
+intervall, N: .
+
+@w{@ar{}@strong{interval}}
+
+@item diminuendo
+I: diminuendo, F: , D: Diminuendo, NL: diminuendo, DK: diminuendo, 
+S:@w{ }diminuendo, N:@w{ }diminuendo.
+
+@w{@ar{}@strong{decrescendo}}
+
+@item disjunct movement
+I: moto disgiunto, F: mouvement disjoint, D: , NL: , DK: springende
+bev@ae{}gelse, S: hoppande r@"orelse, N:
+
+Melody moving in steps greater than those of the
+scale. Opposite of @ar{}@strong{conjunct movement}.
+
+@
+
+@mudela[13pt,eps]
+\key a;
+\time 4/4;
+\notes\relative c' { 
+  \partial 8; e8 | a4. gis8 b a e cis |
+  fis2 d4. \bar "||"; }
+@end mudela
+
+@item dissonant interval; dissonance
+I: intervallo dissonante, dissonanza, F: dissonance, D: Dissonanz, NL:
+dissonant interval; dissonant, DK: dissonerende interval, dissonans, S:
+dissonans, N: .
+
+@w{@ar{}@strong{harmony}}
+
+@item dominant ninth chord
+I: accordo di nona di dominante, F: accord de neuvi@`eme dominante, D:
+Dominantnoneakkord, NL: dominant noon akkoord, DK:
+dominantnoneakkord, S: dominantnonackord, N: .
+
+@w{@ar{}@strong{chord}} @w{@ar{}@strong{functional harmony}}
+
+@item dominant seventh chord
+I: accordo di settima di dominante, F: accord de septi@`eme dominante, D:
+Dominantseptakkord, NL: dominant septiem akkoord, DK: dominantseptimakkord, S:
+dominantseptimackord, N:
+
+@w{@w{@ar{}@strong{chord}} @ar{}@strong{functional harmony}}
+
+@item dominant
+I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S:
+dominant, N: .
+
+The fifth @w{@ar{}@strong{scale degree}} @w{@ar{}@strong{functional harmony}}
+
+@item dorian mode
+I: modo dorico, F: , D: Dorischer Kirchenton, NL: dorische toonladder,
+dorischer Kirchenton, DK: dorisk skala, S: dorisk skala, N:
+
+@w{@ar{}@strong{diatonic scale}}
+
+@item dot (augmentation dot)
+I: punto (di valore), F: point, D: Punkt (Verl@"angerungspunkt), NL: punt, DK:
+punkt, S: punkt, N:
+
+@w{@ar{}@strong{dotted note}}
+
+@item dotted note
+I: nota puntata, F: note point@'ee, D: punktierte Note, NL: gepuncteerde noot,
+DK: punkteret node, S: punkterad not, N:
+
+@w{@ar{}@strong{note value}}
+
+@item double appoggiatura
+I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL:
+dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, N:
+
+@w{@ar{}@strong{appoggiatura}}
+
+@item double bar line
+I: doppia barra, F: double barre, D: Doppelstrich, NL: dubbele maatstreep, DK:
+dobbeltstreg, S: dubbelstreck, N: .
+
+Indicates the end of a section within a movement.
+
+@item double dotted note
+I: nota doppiamente puntata, F: note doublement point@'ee, D:
+doppel-punktierte Note, NL: dubbelgepuncteerde noot, DK:
+dob@-belt@-punk@-te@-ret node, S: dub@-bel@-punk@-te@-rad not, N: .
+
+@w{@ar{}@strong{note value}}
+
+@item double flat
+
+I: doppio bemolle, F: double b@'emol, D: Doppel-B, NL: dubbelmol, 
+DK:@w{ }dob@-belt-b, S: dubbelbe, N: .
+
+@w{@ar{}@strong{accidental}}
+
+@item double sharp
+I: doppio diesis, F: double di@`ese,  D: Doppelkreuz, NL: dubbelkruis, 
+DK:@w{ }dob@-belt@-kryds, S: dubbelkors, N: .
+
+@w{@ar{}@strong{accidental}}
+
+@item double trill
+I: doppio trillo, F: trille double, D: Doppeltriller, NL: dubbele triller, DK:
+dobbelttrille, S: dubbeldrill, N: .
+
+A simultaneous trill on two notes, usually in the distance of a third.
+
+@item duple meter
+I: tempo binario, F: temps binaire, D: zweiteiliger Takt, NL: tweedelige
+maatsoort, DK: todelt takt, S: tv@aa{}takt, N: .
+
+@w{@ar{}@strong{meter}}
+
+@item duplet
+I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, N: .
+
+@w{@ar{}@strong{note value}}
+
+@item duration
+I: durata, F: dur@'ee, D: Dauer, L@"ange, NL: duur, lengte, DK: varighed, S:
+tonl@"angd, N: .
+
+@w{@ar{}@strong{note value}}
+
+@item dydimic comma
+@w{@ar{}@strong{syntonic comma}}
+
+@item E
+I: mi, F: mi, D: E, e, NL: e, DK: e, S: e, N: e.
+
+@item eighth note
+I: croma, F: croche, UK: quaver, D: Achtel, Achtelnote, NL: achtste noot, DK:
+ottendedelsnode, S: @aa{}ttondelsnot, N: .
+
+@w{@ar{}@strong{note value}}
+
+@item eighth rest
+I: pausa di croma, F: demi-soupir, UK: quaver rest, D: Achtelpause, NL:
+achtste rust, DK:@w{ }ottendedelspause, S: @aa{}ttonddelspaus, N: .
+
+@w{@ar{}@strong{note value}}
+
+@item engraving
+I: incisione, F: , D: Notenstechen, NL: steken, DK: nodestik, S: nottryck, N: .
+
+Engraving means incising or etching a metal plate for
+printing. Photoengraving means drawing music with ink in a manner
+similar to drafting or engineering drawing, using similar tools.
+
+The traditional process of music printing is done through cutting in a
+plate of metal. Now also the term for the art of music typesetting.
+
+@item enharmonic
+I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK:
+enharmonisk, S: enharmonisk, N: .
+
+Two notes, intervals, or scales are enharmonic if they have different names
+but equal pitch.
+
+@
+
+@mudela[13pt,eps]
+\property Score.barNonAuto = "1"
+\property Voice.textStyle = "large"
+\notes\relative c'' {
+  gis1_"g sharp" s as1_"a flat" s s
+  < des_"dim fifth" g,! > s s < cis_"augm fourth" g! > s s
+}
+@end mudela
+
+@item equal temperament 
+I: temperamento equabile, F: , D: gleichschwebende Stimmung, NL:
+ge@-lijk@-zwe@-ven@-de temperatuur, DK: ligesv@ae{}vende temperatur,
+S: liksv@"avande temperatur, N: .
+
+Tuning system dividing the octave into 12 equal @w{@ar{}@strong{semitones}}
+(precisely 100 @w{@ar{}@strong{cents}}). @w{@ar{}@strong{temperament}}
+
+@item expression mark
+I: segno d'espressione, F: signe d'expressoin,  D: Vortragszeichen, NL:
+voordrachtsteken, DK: foredragsbetegnelse, S: f@"oredragsbeteckning, N: .
+
+Performance indications concerning 1. volume, dynamics (for example
+@w{@ar{}@strong{forte}}, @w{@ar{}@strong{crescendo}}), 2. tempo (for example
+@w{@ar{}@strong{andante}}, @w{@ar{}@strong{allegro}})
+ 
+@item F
+I: fa, F: fa, D: F, f, NL: f, DK: f, S: f, N: f.
+
+@item F clef
+I: chiave di fa, F: cl@'e de fa, D: F-Schl@"ussel, NL: F-sleutel, DK:
+F-n@o{}gle, S: f-klav, N: .
+
+The position between the dots of the key symbol is the line of the F below
+central C. Used on the third, fourth and fifth note line. A digit 8 above the
+clef symbol indicates that the notes must be played an octave higher (for
+example bass recorder) while 8 below the clef symbol indicates playing an
+octave lower (for example on double bass @w{@ar{}@strong{strings}}).
+
+@
+
+@ignore
+@mud ela[13pt,eps] 
+\property Score.barNonAuto = "1" 
+\property Voice.clefStyle = "fullSizeChanges"
+\property Lyrics.textStyle = "large"
+\addlyrics
+\notes\relative c { 
+  \clef "F3";
+  f1 s
+  \clef "F4";
+  f1 s
+  \clef "F5";
+  f1 s
+  \clef "F^8";
+  f'1 s s
+  \clef "F_8";
+  f,,1 s s
+} 
+\context Lyrics \lyrics { 
+  baritone 
+  bass 
+  "sub-bass" 
+  "octaved up" 
+  "octaved down" 
+}
+@end mudela
+@end ignore
+
+@item fermata
+I: corona, F: pauses, D: Fermate, NL: fermate, DK: fermat, S: fermat, N: .
+
+Prolonged note or rest of indefinite duration.
+
+@
+
+@mudela[13pt,eps]
+\time 4/4;
+\notes\relative c'' {
+a4 b c2^\fermata \bar "|."; }
+@end mudela
+
+@item fifth
+I: quinta, F: quinte, D: Quinte, NL: kwint, I: , DK: kvint, S: kvint, N: kvint.
+
+@w{@ar{}@strong{interval}}
+
+@item figured bass
+@w{@ar{}@strong{thorough bass}}
+
+@item fingering
+I: ditteggiatura, F: doigt@'e, D: Fingersatz, NL: vingerzetting, DK:
+fingers@ae{}tning, S: fingers@"attning, N: .
+
+The methodical use of fingers in the playing of instruments.
+
+@item flag; pennant 
+I: coda (uncinata), bandiera, F: crochet, D: Fahne, F@"ahnchen, NL: vlaggetje,
+DK: fane, S: flagga, N: .
+
+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 @w{@ar{}@strong{note value}}.
+
+@
+
+@mudela[13pt,eps]
+\property Score.barNonAuto = "1"
+\property Voice.textEmptyDimension = "1"
+\property Voice.textStyle = "large"
+\notes\relative c'' { 
+  g8_"1/8" s8 
+  g16_"1/16" s8 
+  g32_"1/32" s8 
+  g64_"1/64" s8 }
+@end mudela
+
+@item flat
+I: bemolle, F: b@'emol, D: B, b, NL: mol, DK: b, S: bef@"ortecken, N: .
+
+@w{@ar{}@strong{accidental}}
+
+@item forefall; backfall  
+@w{@ar{}@strong{appoggiatura}}
+
+@item forte
+I: forte, F: , D: forte, Laut, NL: forte, DK: forte, S: forte, N: .
+
+Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
+@emph{mezzoforte} (@b{mf}) medium loud.
+
+@item fourth
+I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, N: .
+
+@w{@ar{}@strong{interval}}
+
+@item fugue 
+I: fuga, F: , D: Fuge, NL: fuga, DK: fuga, S: fuga, N: .
+
+@w{@ar{}@strong{counterpoint}}
+
+@item functiontional harmony
+I: armonia funzionale, F: , D: Funktionslehre, NL: , DK: funktionsanalyse,
+funktionsharmonik, S: funktionsl@"ara, N:
+
+A system of harmonic analysis. It is based on the idea that, in a given key,
+there are only three functionally different chords: tonic (T, the chord on the
+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.
+
+@
+
+@mudela[13pt,eps] 
+\property Voice.textEmptyDimension = "1"
+\property Score.barNonAuto = "1" 
+\property Lyrics.textStyle = "large"
+\property Voice.textStyle = "large"
+\addlyrics
+\notes\relative c'' {
+  < g1 e c > < 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}$\\mid$" } 
+@end mudela
+
+@item G
+I: sol, F: sol, D: G, g, NL: g, DK: g, S: g, N: g.
+
+@item G clef
+I: chiave di sol, F: , D: G-Schl@"ussel, Violinschl@"ussel, NL: G-sleutel, DK:
+g-n@o{}gle, S: g-klav, N: .
+
+A clef symbol indicating the G above central C. Used on the first and second
+note lines. A digit 8 above the clef symbol indicates that 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). 
+
+@
+
+@mudela[13pt,eps] 
+\property Score.barNonAuto = "1" 
+\property Lyrics.textStyle = "large"
+\property Voice.clefStyle = "fullSizeChanges"
+\addlyrics
+\notes\relative c'' { 
+  \clef "G1"; g1 s s s s
+  \clef "G2"; g s s s 
+  \clef "G^8"; g' s s s 
+  \clef "G_8"; g,, s s
+}
+\context Lyrics \lyrics { 
+  "french violin clef" 
+  "violin clef" 
+  "octaved up"
+  "octaved down"
+}
+@end mudela
+
+@item glissando
+I: glissando, F: glissement, D: Glissando, NL: glissando, DK: glissando, S:
+glissando, N: glissando.
+
+Letting the pitch  slide fluently from one note to the other
+
+@item grace notes
+I: abbellimenti, F: , D: Verzierungen, Vorschl@"age, Vorschlagsnoten, NL:
+versieringen, DK: forsiringer, S: ornament, N: .
+
+Notes printed in small types to indicate that their time values are not
+counted in the rhythm of the bar. @w{@ar{}@strong{appoggiatura}}
+
+@item grand staff
+I: accolatura, F: , D: Akkolade, NL: piano systeem, DK: klaversystem, S:
+ackolad, b@"ojd klammer, N: .
+
+@w{@ar{}@strong{brace}}
+
+A combination of two staffs with a brace.  Usually used for piano music.
+
+@item grave
+I: grave, F: , D: grave, langsam, traurig, NL: , DK: grave, S: grave, N: .
+
+@item half note
+I: minima, F: blanche, UK: minim, D: Halbe, halbe Note, NL: halve noot, DK:
+halvnode, S: halvnot, N: .
+
+@w{@ar{}@strong{note value}}
+
+@item half rest
+I: pausa di minima, F: demi-pause, UK: minim rest, D: halbe Pause, NL: halve
+rust, DK: halvnodespause, S: halvnotspaus, N: .
+
+@w{@ar{}@strong{note value}}
+
+@item harmonic cadence
+I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL:
+harmonische cadens, DK: harmonisk kadence, S: (harmonisk) kadens, N: .
+
+Sequence of chords that terminate a musical phrase or
+section. @ar{}@w{}@strong{functional harmony}
+
+@
+
+@mudela[13pt,eps] 
+\context GrandStaff < 
+  \notes\relative c'' { 
+    \time 4/4;
+    \clef treble; 
+    \partial 4; < c4 g e > | < c a f > < b g d > < c2 g e > }
+  \property Lyrics.textStyle = "large"
+  \addlyrics
+  \notes\relative c { 
+    \clef bass; 
+    \partial 4; c4 | f, g c2
+    \bar "|."; } 
+  \context Lyrics \lyrics { T S D T } > 
+@end mudela
+
+@item harmony
+I: armonia, F: , D: Harmonie, Zusammenklang, NL: harmonie, DK: samklang, S:
+samklang, N:
+
+Tones sounding simultaneously. Two note harmonies fall into the cathegories
+@emph{consonances} and @emph{dissonances}.
+
+Consonances:
+
+@
+
+@mudela[13pt,eps] 
+\property Score.barNonAuto = "1"
+\property Voice.textStyle = "large"
+\notes\relative c'' {
+  <g1_"unisone" g> s
+  <g1_"third" b> s
+  <g1_"fourth" c> s
+  <g1_"fifth" d'> s
+  <g1_"sixth" e'> s
+  <g1_"octave" g'> s
+  <g1_"decime" b'> s s
+}
+@end mudela
+
+Dissonances:
+
+@
+
+@mudela[13pt,eps] 
+\property Score.barNonAuto = "1"
+\property Voice.textStyle = "large"
+\notes\relative c'' {
+  <g1_"second" a> s
+  <g1_"seventh" f'> s 
+  <g1_"ninth" a'> s s
+}
+@end mudela
+
+Three note harmony @w{@ar{}@strong{chord}}
+
+@item homophony
+I: omofonia, F: , D: Homophonie, NL: homofonie, DK: homofoni, S: homofoni, N: .
+
+Music in which one voice leads melodically followed by the other voices more
+or less in the same rhythm. In contrast to @w{@ar{}@strong{polyphony}}.
+
+@item interval
+I: intervallo, F: intervalle, D: Intervall, NL: interval, DK: interval, S:
+intervall, N: .
+
+Difference in pitch between two notes. Intervals may be perfect, minor, major,
+diminished or augmented. The augmented fourth and the diminished fifth are
+identical (@w{@ar{}@strong{enharmonic}}) and is called @emph{tritonus} because
+it consists of three @w{@ar{}@strong{whole tone}}s. The addition of such two
+forms an octave.
+
+@ 
+
+@mudela[13pt,eps] 
+\property Score.barNonAuto = "1"
+\property Lyrics.textStyle = "large"
+\property Voice.textStyle = "large"
+\addlyrics
+\notes\relative c'' {
+  < g1 g > s
+  < g^"minor" as > s
+  < g^"major" a! > s
+  < g^"augm" ais > s
+  < gis^"dimin" bes > s
+  < g!^"minor" bes > s
+  < g^"major" b! > s 
+  < g^"augm" bis > s 
+}
+\context Lyrics \lyrics { 
+  unisone second second second third third third third } 
+@end mudela
+
+@ 
+
+@mudela[13pt,eps] 
+\property Score.barNonAuto = "1"
+\property Lyrics.textStyle = "large"
+\property Voice.textStyle = "large"
+\addlyrics
+\notes\relative c'' {
+  < g1^"perfect" c > s
+  < g^"augm" cis > s
+  < g^"perfect" d' > s
+  < g^"dim" des' > s
+  < gis^"dimin" es' > s
+  < g!^"minor" es' > s
+  < g^"major" e'! > s
+  < g^"augm" eis' > s
+}
+\context Lyrics \lyrics { 
+  fourth fourth fifth fifth sixth sixth sixth sixth } 
+@end mudela
+
+@ 
+
+@mudela[13pt,eps] 
+\property Score.barNonAuto = "1"
+\property Lyrics.textStyle = "large"
+\property Voice.textStyle = "large"
+\addlyrics
+\notes\relative c'' {
+  < gis1^"dimin" f'! > s
+  < g!^"minor" f'! > s
+  < g^"major" fis' > s
+  < g g' > s
+  < g^"minor" as' > s
+  < g^"major" a'! > s
+  < g^"minor" bes' > s
+  < g^"major" b'! > s
+}
+\context Lyrics \lyrics { 
+  seventh seventh seventh octave none none decime decime } 
+@end mudela
+
+@item inverted interval
+I: rivolto, F: renversement d'intervalle, D: umgekerhtes Intervall, NL:
+interval inversie, DK: omvendingsinterval, S: intervallets omv@"andning, N: .
+
+The difference between an interval and an octave.
+
+@
+
+@mudela[13pt,eps] 
+\property Score.barNonAuto = "1"
+\property Voice.textStyle = "large"
+\notes\relative c'' {
+  < g1_"second" a > s < g'_"seventh" a, > s \bar "||"; 
+  < g,_"third" b > s < g'_"sixth" b, > s \bar "||";
+  < g,_"fourth" c > s < g'_"fifth" c, > s \bar "||";
+}
+@end mudela
+
+@item just intonation
+I: intonazione giusta, F: , D: reine Stimmung, NL: reine stemming, DK: ren
+stemning, S: ren st@"amning, N: .
+
+Tuning system in which the notes are obtained by adding and subtracting
+@w{natural} fifths and thirds. @w{@ar{}@strong{temperament}}
+
+@item key
+I: tonalit@`a, F: , D: Tonart, NL: toonsoort, DK: toneart, S: tonart, N: .
+
+According to the 12 tones of the @w{@ar{}@strong{chromatic scale}} there are 12
+keys, one on c, one on c-sharp etc. @w{@ar{}@strong{key signature}}
+
+@item key signature
+I: armatura di chiave, F: armure, armature [de la cl@'e], D: Vorzeichen,
+Tonart, NL: @w{ }toon@-soort (voortekens), DK: faste fortegn, S: largo, N: .
+
+The sharps or flats appearing at the beginning of each staff indicating the
+key of the music. @w{@ar{}@strong{accidental}}
+
+@item largo
+I: largo, F: , D: Largo, Langsam, Breit, NL: largo, DK: largo, S: largo, N:
+largo
+
+Very slow in tempo, usually combined with great
+expressiveness. @emph{Larghetto} less slow than largo.
+
+@item leading note
+I: sensibile, F: sensible, D: Leitton, NL: leidtoon, DK: ledetone, S: ledton,
+N: .
+
+The seventh @w{@ar{}@strong{scale degree}}, a @w{@ar{}@strong{semitone}} below
+the tonic; so called because of its strong tendency to ``lead up'' (resolve
+upwards) to the tonic scale degree.
+
+@item ledger line; leger line
+
+I: tagli addizionali, F: ligne suppl@'ementaire, D: Hilfslinie, NL:
+hulplijntje, DK: hj@ae{}lpelinie, S: hj@"alpstreck, N: .
+
+A ledger line is an extension of the staff.
+
+@
+
+@mudela[13pt,eps] 
+\property Score.barNonAuto = "1" 
+\notes\relative c'' { a,1 s c'' } 
+@end mudela
+
+@item legato
+I: legato, F: , D: legato, NL: legato, DK: legato, S: legato, N: .
+
+To be performed without any perceptible interruption between the notes (a)
+unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
+@w{@ar{}@strong{staccato}} (d)
+
+@
+
+@mudela[13pt,eps]
+\property Score.barNonAuto = "1"
+\property Voice.textEmptyDimension = "1"
+\property Lyrics.textStyle = "large"
+\addlyrics
+\notes\relative c'' { 
+  c4( d )e \bar "||"; 
+  c4-- d-- e-- \bar "||"; 
+  c4-.( d-. )e-. \bar "||"; 
+  c4-. d-. e-. \bar "||"; 
+}
+\context Lyrics \lyrics { a "" "" b "" "" c "" "" d  }
+@end mudela
+
+@item legato curve
+@w{@ar{}@strong{slur}} @w{@ar{}@strong{legato}}
+
+@item lilypond
+I: stagno del giglio, F: @'etang de lis, UK: lily pond, D: Seerosenteich, NL:
+le@-lie@-vij@-ver, DK: liliedam, S: liljedamm, N: .
+
+A pond with  lilies floating in it, also the name of a music typesetter.
+
+@item line
+I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S:
+notlinje, N: .
+
+@w{@ar{}@strong{staff}}
+
+@item long appoggiatura 
+I: appoggiatura lunga, F: appoggiature longue, D: langer Vorschlag, DK: langt
+forslag, S: l@aa{}ngt f@"orslag, N: .
+
+@w{@ar{}@strong{appoggiatura}}
+
+@item longa
+I: longa, F: , D: Longa, NL: longa, DK: longa, S: longa, N: longa
+
+note value: double length of @w{@ar{}@strong{brevis}}. @w{@ar{}@strong{note value}}
+
+@
+
+@mudela[13pt,eps] 
+\property Score.barNonAuto = "1" 
+\notes\relative c'' { g\longa } 
+@end mudela
+
+@item major interval
+I: intervallo maggiore, F: intervalle majeur, D: gro@ss{}es Intervall, NL:
+groot interval, DK: stort interval, S: stort intervall, N: .
+
+@w{@ar{}@strong{interval}}
+
+@item major
+I: maggiore, F: mode majeur, D: Dur, NL: majeur, DK: dur, S: dur, N: dur.
+
+@w{@ar{}@strong{diatonic scale}}
+
+@item meantone temperament
+I: accordatura mesotonica, F: temp@'erament m@'esotonique, D:
+Mittelt@"onige Stimmung, DK: middeltonetemperatur, S: medeltonstemperatur, N: .
+
+Temperament yielding acoustically pure thirds by decreasing the natural fifth
+by 16 @w{@ar{}@strong{cent}}s. Due to the non-circular character of this
+@w{@ar{}@strong{temperament}} only a limited set of keys are playable. Used for
+tuning keyboard instruments for performance of pre-1650 music.
+
+@item measure, bar
+I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, N: takt.
+
+A group of @w{@ar{}@strong{beat}}s (units of musical time) the first of which
+bears an accent. Such groups in numbers of two or more recur consistently
+throughout the composition and are marked from each other by
+bar-lines. @w{@ar{}@strong{meter}}
+
+@item mediant
+I: mediante, F: m@'ediante, NL: mediant, D: Mediant, DK: mediant, S: mediant,
+N: .
+
+1. The third @b{scale degree}. 2. A @w{@ar{}@strong{chord}} having its base tone
+a third from that of another chord. For example the tonic chord may be
+replaced by its lower mediant (variant tonic). @w{@ar{}@strong{functional
+harmony}} @w{@ar{}@strong{relative key}}.
+
+@item melodic cadence
+
+@w{@ar{}@strong{cadenza}}
+
+@item meter, time
+I: tempo, metro, F: m@`etre, D: Taktart, Metrum, NL: maatsoort, DK: taktart,
+S: taktart, N: .
+
+The basic scheme of @ar{}@w{}@strong{note value}s and @ar{}@w{}@strong{accent}s
+which remains unaltered throughout a composition or a section of it. For
+instance 3/4 meter means that the basic @ar{}@w{}@strong{note value}s are
+quarter-notes and that a @w{@ar{}@strong{measure}} consists of three of
+those. According to 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.
+
+@
+
+@mudela[13pt,eps]
+\notes\relative c'' { 
+  \time 3/4;
+  \key f;
+  c es d | c bes8 a bes4 | c es d | c2 \bar "||";}
+@end mudela
+
+@mudela[13pt,eps]
+\notes\relative c' { 
+  \time 6/8;
+  \key f;
+  f8 f f f a16 g a f | 
+  c'8 c c c e16 d e c \bar "||";}
+@end mudela
+
+@mudela[13pt,eps]
+\notes\relative c'' { 
+  \time 5/4;
+  \key g;
+  d4 b8 g b d d c a4 | 
+  g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||";}
+@end mudela
+
+@item metronome
+I: metronomo, F: m@'etronome, D: Metronom, NL: metronoom, 
+DK:@w{ }me@-tro@-nom, S:@w{ }me@-tro@-nom, N: metronom.
+
+Device indicating the exact tempo of a piece. @w{@ar{}@strong{metronomic
+indication}}
+
+@item metronomic indication
+I: indicazione metronomica, F: indication m@'etronomique, D: Metronomangabe,
+NL: metronoom aanduiding, DK: metronomtal, S: metronomangivelse, N: .
+
+Exact tempo indication (in beats per minute).  Also denoted by
+M.M. (M@"alzel's Metronom) 
+
+@item mezzo-soprano
+I: mezzo-soprano, F: mezzo-soprano, D: Mezzosopran, NL: mezzosopraan, DK:
+mezzosopran, S: mezzosopran, N: mezzosopran.
+
+The female voice between @w{@ar{}@strong{soprano}} and
+@w{@ar{}@strong{contralto}}.
+
+@item middle C
+I: do centrale, F: do central, D: eingestrichenes c, NL: centrale c, DK:
+enstreget c, S: ettstruket c, N:
+
+First C below the 440 Hz A.
+
+@
+
+@mudela[13pt,eps] 
+\property Score.barNonAuto = "1" 
+\property Voice.clefStyle = "fullSizeChanges"
+\notes\relative c' { 
+  \clef "F"; c1 s
+  \clef "C3"; c s
+  \clef "G2"; c s
+} 
+@end mudela
+
+@item minor interval
+I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein
+interval, DK: lille interval, S: litet intervall, N: .
+
+@w{@ar{}@strong{interval}}
+
+@item minor
+I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, N: .
+
+@w{@ar{}@strong{diatonic scale}}
+
+@item mode
+I: modo, F: mode, D: Modus, NL: modus, DK: skala, S: modus, skala, N: .
+
+@w{@ar{}@strong{church mode}} @w{@ar{}@strong{diatonic scale}}
+
+@item modulation
+I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation,
+S: modulering, N: .
+
+Moving from one @w{@ar{}@strong{key}} to another. For example the second
+subject of a @w{@ar{}@strong{sonata form}} movement modulates to the dominant
+key if the key is major and to the @w{@ar{}@strong{relative key}} if the key
+is minor.
+
+@item mordent
+I: mordente, F: mordant, pinc@`e, D: Mordent, NL: mordent, DK: mordent, S:
+mordent, N: .
+
+@w{@ar{}@strong{ornament}}
+
+@item motive; motif
+I: inciso, F: incise, D: Motiv, NL: motief, DK: motiv, S: motiv, N: .
+
+The briefest intelligible and self-contained fragment of a musical theme or
+subject. 
+
+@
+
+@mudela[13pt,eps] 
+\property Score.timeSignatureStyle = "C2/2"
+\property Voice.textEmptyDimension = "1"
+\property Voice.textStyle = "large"
+\notes\relative c'' { 
+  \time 4/4;
+  \key g; 
+  \partial 8; g16_"------" fis |
+  g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
+  g8 g,16 a b8 cis d16 s 
+} 
+@end mudela
+
+@item movement
+I: movimento, F: , D: Satz, NL: deel, DK: sats, S: sats, N: .
+
+Greater musical works like @w{@ar{}@strong{symphony}} and
+@w{@ar{}@strong{sonata}} most often consist of several - more or less -
+independant pieces called movements.
+
+@item multibar rest
+I: pausa multipla, F: b@^aton de pause, NL: meermaats rust, D:
+mehrtaktige Pause, DK: flertaktspause, S: flertaktspaus, N: .
+
+@
+
+@mudela[13pt,eps]
+\notes\relative c'' {
+a1
+\property Score.skipBars=1 R1*3 
+a1 }
+@end mudela
+
+@item mixolydian mode
+@w{@ar{}@strong{diatonic scale}}
+
+@item natural sign
+I: bequadro, F: b@'ecarre, D: Aufl@"osungszeichen, NL: herstellingsteken, 
+DK:@w{ }op@-l@o{}sningstegn, S: @aa{}terst@"allningstecken, N: .
+
+@w{@ar{}@strong{accidental}}
+
+@item neighbour tones
+@w{@ar{}@strong{appoggiatura}}
+
+@item ninth
+I: nona, F: , D: None, NL: noon, DK: none, S: nona, N: .
+
+@w{@ar{}@strong{interval}}
+
+@item non-legato
+@w{@ar{}@strong{legato}}
+
+@item note
+I: nota, F: note, D: Note, NL: noot, DK: node, S: not, N: ,
+
+@item note head
+I: testa, F: , D: Notenkopf, NL: nootballetje, DK: nodehovede, S: nothuvud, N:
+.
+
+A head like sign which indicates pitch by its position on a
+@w{@ar{}@strong{staff}} provided with a @w{@ar{}@strong{clef}}, and duration
+by a variety of shapes such as hollow or black heads with or without
+@w{@ar{}@strong{stem}}s, @w{@ar{}@strong{flag}}s etc. For percussion
+instruments (often having no defined pitch) the note head may indicate the
+instrument.
+
+@item note value
+I: valore, durata, F: , D: Notenwert, NL: nootwaarde, DK nodev@ae{}rdi, S:
+notv@"arde, N: .
+
+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},
+but sometimes (mostly in pre baroque music) the double length note value
+@emph{longa} is used.
+
+@
+
+@mudela[13pt,eps]
+\property Voice.textStyle = "large"
+\property Score.barNonAuto = "1"
+\notes\relative c'' { 
+  g\longa_"longa" g\breve_"breve" 
+  g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
+  g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
+@end mudela
+
+@mudela[13pt,eps]
+\property Voice.textStyle = "large"
+\property Score.barNonAuto = "1"
+\notes\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 }
+@end mudela
+
+An augmentation dot after a note multiplies the duration by one and a
+half. Another dot adds yet a fourth of the duration.
+
+@
+
+@mudela[13pt,eps]
+\property Voice.textEmptyDimension = "1"
+\property Voice.textStyle = "large"
+\notes\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 "||"; }
+@end mudela
+
+Alternatively note values may be subdivided by other ratios. Most common is
+subdivision by 3 (@emph{triplets}) and 5 (@emph{quintuplets}). Subdivisions by
+2 (@emph{tuplets}) or 4 (@emph{quadruplets}) of dotted notes are also
+frequently used.
+
+@
+
+@mudela[13pt,eps]
+\property Voice.textStyle = "large"
+\property Voice.textEmptyDimension = "1"
+\notes\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 "||";
+  \time 3/4;
+  \times 3/2 {g4_"duplets" g} |
+  g4 g g \bar "||";
+  \times 6/4 {g8_"quadruplets" g g g} |
+  g8 g g g g4 \bar "||";}
+@end mudela
+
+@item octave sign
+@w{@ar{}@strong{g clef}} @w{@ar{}@strong{f clef}}
+
+@item octave
+I: ottava, F: octave, D: Oktave, NL: octaaf, DK: oktav, S: oktav, N: .
+
+@w{@ar{}@strong{interval}}
+
+@item ornament; embellishment; accessory
+I: abbellimento, fioriture, abbellimenti, F: agr@`ement, ornement, D:
+Verzierung, Ornament, NL: versiering, DK: forsiring, S: ornament, N: .
+
+Most commonly used is the @emph{trill}, the rapid alternation of a given note
+with the diatonic @w{@ar{}@strong{second}} above it. In the music from the
+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.
+
+@
+
+@mudela[13pt,eps]
+<
+  \context Staff = sa {
+    \property Voice.textEmptyDimension = "1"
+    \property Voice.textStyle = "large"
+    \notes\relative c'' { 
+      c2._"pre-1850"  b4\trill | c1 \bar "||";
+      c2._"post-1850" b4\trill | c1 \bar "||";
+    }
+  }
+  \notes\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 mudela
+
+Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
+@emph{prall} (inverted mordent).
+
+@
+
+@mudela[13pt,eps]
+<
+  \context Staff = sa {
+    \property Voice.textEmptyDimension = "1"
+    \property Voice.textStyle = "large"
+    \notes\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'' { 
+    a4 [c16 b a b] c2 
+    g4 a [b16 a b8] a4
+    e'4 [e8 ~ e32 d e d] c2
+  } 
+>
+@end mudela
+
+@w{@ar{}@strong{appoggiatura}}
+
+@item ossia
+I: ossia, F: facilit@'e, D: Ossia, NL: alternatief, DK: ossia, S: ossia, N: .
+
+Ossia (otherwise) marks an alternative. It is an added staff or piano
+score, usually only a few measures long, which presents another version
+of the music, for example for small hands.
+
+@item part
+I: voce, parte, F: , D: Stimme, NL: partij, DK: stemme, S: st@"amma, N: .
+
+1. In instrumental or choral music the music for the single instrument
+or voice. 2. in contrapuntal music @w{@ar{}@strong{counterpoint}} the single
+melodic line of the contrapuntal web.
+
+@item percussion
+I: percussioni, F: , D: Schlagzeug, NL: slagwerk, DK: slagt@o{}j, S: slagverk,
+N: .
+
+A family of musical instruments which are played on by striking or
+shaking. Percussion instruments commonly used in a symphony orchestra are
+kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
+tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel
+and xylophone.
+
+@item perfect interval
+
+I: intervallo giusto, F: intervalle juste, D: reines Intervall, NL: rein
+interval, DK: rent interval, S: rent intervall, N: .
+
+@w{@ar{}@strong{interval}}
+
+@item phrase
+I: frase, F: phrase, D: Phrase, NL: frase, zin, DK: frase, S: fras, N: .
+
+A natural division of the melodic line, comparable to a sentence of speech.
+
+@item phrasing
+I: fraseggio, F: phras@'e, D: Phrasierung, NL: frasering, DK: frasering, S:
+fra@-se@-ring, N: .
+
+The clear rendering in musical performance of the @w{@ar{}@strong{phrase}}s of
+the melody. Phrasing may be indicated by a @w{@ar{}@strong{slur}}.
+
+@item piano 
+I: piano, F: , D: piano, leise, NL: piano, DK: piano, S: piano, N: .
+
+@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
+@emph{mezzopiano} (@b{mp}) medium soft.
+
+@item pitch
+I: altezza, F: hauteur, D: Tonh@"ohe, NL: toonhoogte, DK: toneh@o{}jde, S:
+tonh@"ojd, N: .
+
+@item pizzicato
+I: pizzicato, F: , D: pizzicato, NL: pizzicato, getokkeld, DK: pizzicato, S:
+pizzicato.
+
+Play by plucking the strings.
+
+@item polyphony
+I: polifonia, F: , D: Polyphonie, NL: polyfonie, DK: polyfoni, S: polyfoni, N:
+.
+
+Music written in a combination of several simultaneous voices (parts) of a
+more or less pronounced individuality. @w{@ar{}@strong{counterpoint}}
+
+@item portato
+@w{@ar{}@strong{legato}}
+
+@item presto
+I: presto, F: , D: Presto, Sehr schnell, NL: presto, Sehr schnell, DK: presto,
+S: presto, N: .
+
+Very quick, i.e. quicker than @w{@ar{}@strong{allegro}}. @emph{prestissimo}
+denotes the highest possible degree of speed.
+
+@item Pythagorean comma
+I: comma pitagorico, F: comma pythagoricien, D: Pythagor@"aisches Komma, NL:
+komma van Pythagoras, DK: pythagor@ae{}isk komma, S: pytagoreiskt komma, N: .
+
+A sequence of fifths starting on C eventually circles back to C, but this C,
+obtained by adding 12 fifths, is 24 @w{@ar{}@strong{cent}}s higher than the C
+obtained by adding 7 octaves. The difference between those two pitches is
+called the Pythagorean comma.
+
+@item quadruplet
+I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol,
+N: .
+
+@w{@ar{}@strong{note value}}
+
+@item quarter note
+I: semiminima, nera, F: noire, UK: crotchet, D: Viertel, Viertelnote, NL:
+kwartnoot, DK: fjerdedelsnode, S: fj@"ardedelsnot, N:
+
+@w{@ar{}@strong{note value}}
+
+@item quarter rest
+I: pausa di semiminima, F: soupir, UK: crotchet rest, D: Viertelpause, NL:
+kwart rust, DK:@w{ }fjerdedelspause, S: fj@"ardedelspaus, N: .
+
+@w{@ar{}@strong{note value}}
+
+@item quintuplet
+I: quintina, F: , D: Quintole, NL: kwintool, DK: kvintol, S: kvintol, N: .
+
+@w{@ar{}@strong{note value}}
+
+@item rallentando
+I: rallentando, F: , D: rallentando, langsamer, NL: rallentando, DK:
+rallentando, S: rallentando, N: .
+
+@w{@ar{}@strong{ritardando}}
+
+@item relative key
+I: tonalit@`a relativa, F: , D: Paralleltonart, DK: paralleltoneart, S:
+parallelltonart, N: .
+
+@w{@ar{}@strong{Major}} and @w{@ar{}@strong{minor}} @w{@ar{}@strong{key}} with
+the same @w{@ar{}@strong{signature}}.
+
+@
+
+@mudela[13pt,eps] 
+\property Voice.textEmptyDimension = "1"
+\property Score.barNonAuto = "1" 
+\property Voice.textStyle = "large"
+\notes\relative c' { 
+  \key es;
+  es1_"e flat major" f g as bes c d es 
+  \bar "||"; s16 
+  \key es;
+  c,1_"c minor" d es f g a! b! c \bar "||";
+}
+@end mudela
+
+@item repeat
+I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK:
+gen@-ta@-gel@-se, S: repris, N: .
+
+@
+
+@mudela[13pt,eps]
+\key g;
+\time 4/4;
+\notes\relative c'' { 
+  \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
+}
+@end mudela
+
+@item rest
+I: pausa, F: soupir, D: Pause, NL: rust, DK: pause, S: paus, N: .
+
+@w{@ar{}@strong{note value}}
+
+@item rhythm
+I: ritmo, F: rythme, D: Rhythmus, NL: ritme, DK: rytme, S: rytm, N: .
+
+(a) metrical rhythm in which every time value is a multiple or fraction of a
+fixed unit of time, called @w{@ar{}@strong{beat}}, and in which the normal
+@w{@ar{}@strong{accent}} recurs in regular intervals, called
+@w{@ar{}@strong{measure}}. The basic scheme scheme of time values is called
+@w{@ar{}@strong{meter}}. (b) Measured rhythm which lacks regularly recurrent
+accent. In modern notation such music appears as a free alternation of
+different measures. (c) Free rhythm, i.e. the use of temporal values having no
+common metrical unit (beat).
+
+@item ritardando
+I: ritardando, F: , D: Ritardando, Langsamer, NL: ritardando, DK: ritardando,
+S: ritardando, N: .
+
+Gradually slackening in speed. Mostly abbreviated to rit. or ritard. 
+
+@item ritenuto
+I: ritenuto, F: , D: Ritenuto, NL: ritenuto, DK: ritenuto, S: ritenuto, N: .
+
+Immediate reduction of speed.
+
+@item scale
+I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, N: .
+
+@w{@ar{}@strong{diatonic scale}}
+
+@item scale degree
+I: grado della scala, F: degr@'e [de la gamme], D: Tonleiterstufe, NL: trap
+[van de toonladder], DK: skalatrin, S: skalatrin (?), N: .
+
+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).
+
+@
+
+@mudela[13pt,eps] 
+\property Voice.textEmptyDimension = "1"
+\property Score.barNonAuto = "1" 
+\property Lyrics.textStyle = "large"
+\property Lyrics.minVerticalAlign = 8
+\addlyrics
+\notes\relative c' { 
+  c1 d e f g a b c }
+\context Lyrics \lyrics { 
+  < { I II III IV V VI VII I } 
+    { T "" "" S D } >
+}
+@end mudela
+
+@w{@ar{}@strong{functional harmony}}
+
+@item score
+I: partitura, F: partition, D: Partitur, NL: partituur, DK: partitur, S:
+partitur, N: .
+
+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 @w{@ar{}@strong{stave}}s.
+
+@item second
+I: secunda, F: seconde, D: Sekunde, NL: secunde, DK: sekund, S: sekund, N: .
+
+The @w{@ar{}@strong{interval}} between two neigbouring tones of a scale. A
+@w{@ar{}@strong{diatonic scale}} consists of alternating
+@w{@ar{}@strong{semitone}}s and @w{@ar{}@strong{whole tone}}s, hence the size
+of a se@-cond depends on the scale degrees in question.
+
+@item semitone
+I: semitono, F: demi-ton, D: Halbton, NL: halve toon, DK: halvtone, S:
+halvton, N: .
+
+The @w{@ar{}@strong{interval}} of a minor second. The (usually) smallest
+interval in European composed music. The interval between two neighbouring
+tones on the piano keyboard - including black and white keys - is a
+semitone. An octave may be divided into 12
+semitones. @w{@ar{}@strong{interval}} @w{@ar{}@strong{chromatic scale}}
+
+@
+
+@mudela[13pt,eps] 
+\property Score.barNonAuto = "1" 
+\notes\relative c'' { g1 gis s a bes s b c }
+@end mudela
+
+@item seventh
+I: settima, F: septi@`eme, D: Septime, NL: septiem, DK: septim, S: septim, N: .
+
+@w{@ar{}@strong{interval}}
+
+@item sextuplet, sextolet
+I: settimina, F: sextolet, D: Sextole, NL: sextool, DK: sekstol, S: sextol, N:
+.
+
+@w{@ar{}@strong{note value}}
+
+@item sharp
+I: diesis, F: di@`ese, D: Kreuz, NL: kruis, DK: kryds, S: korsf@"ortecken, N: .
+
+@w{@ar{}@strong{accidental}}
+
+@item short appoggiatura
+@w{@ar{}@strong{appoggiatura}}
+
+@item sixteenth note
+I: semicroma, F: double croche, UK: semiquaver, D: Sechzehntel,
+Sechzehntelnote, NL:@w{ }zes@-ti@-ende noot, DK: sekstendedelsnode, S:
+sextondelsnot, N: .
+
+@w{@ar{}@strong{note value}}
+
+@item sixteenth rest
+I: pausa di semicroma, F: quart de soupir, UK: semiquaver rest, D:
+Sechzehntelpause, NL: zestiende rust, DK: sekstendedelspause, S:
+sextondelspaus, N: .
+
+@w{@ar{}@strong{note value}}
+
+@item sixth
+I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, N: .
+
+@w{@ar{}@strong{interval}}
+
+@item sixty-fourth note
+I: semibiscroma, F: quadruple croche, UK: hemidemisemiquaver, D:
+Vierundsechzigstel, Vierundsechzigstelnote, NL: vierenzestigste noot, DK:
+fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de, S:
+sextiofj@"ardedelsnot, N: .
+
+@w{@ar{}@strong{note value}}
+
+@item sixty-fourth rest
+I: pausa di semibiscroma, F: seizi@`eme de soupir, UK: hemidemisemiquaver
+rest, D: Vierundsechzigstelpause, NL: vierenzestigste rust, DK:
+fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se, S:
+sextiofj@"ardedelspaus, N: .
+
+@w{@ar{}@strong{note value}}
+
+@item slur
+I: legatura (di portamento or espressiva), F: liaison, coul@'e, D: Bogen,
+Bindebogen, Legatobogen, Phrasierungsbogen, NL: binding, bindingsboog, 
+DK:@w{ }legatobue, fraseringsbue, S: b@aa{}ge, N: .
+
+A slur above or below a group of notes indicates that they are to be played
+@w{@ar{}@strong{legato}}, e.g. with one stroke of the violin bow or with one
+breath in singing.
+
+@item solmization
+I: solmisazione, F: , D: Solmisation, NL: solmizatie, DK: solmisation, S:
+solmisation, N: .
+
+General term for systems of designating the degrees of the
+@w{@ar{}@strong{scale}}, not by letters, but by syllables (@emph{do}
+(@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
+(@emph{ti})). @w{@ar{}@strong{scale degree}}.
+
+@item sonata
+I: sonata, F: , D: Sonate, NL: sonate, DK: sonate, S: sonat, N: .
+
+In its present-day meaning a sonata denotes an instrumental composition for
+piano or for some other instrument with piano accompaniment, which consists of
+three or four independant pieces, called movements.
+
+@item sonata form
+I: forma sonata, F: , D: Sonatenform, NL: hoofdvorm, sonatevorm, DK:
+sonateform, S: sonatform, N: .
+
+A form used frequently for single movements of the @w{@ar{}@strong{sonata}},
+@w{@ar{}@strong{symphony}}, quartet etc. A movement written in sonata form
+falls in 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
+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
+@w{@ar{}@strong{dominant}} if the @w{@ar{}@strong{tonic}} is
+@w{@ar{}@strong{major}}, and in the @w{@ar{}@strong{relative key}} if the
+tonic is @w{@ar{}@strong{minor}}.
+
+@item soprano
+I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, N: .
+
+The highest female voice.
+
+@item staccato
+I: staccato, F: , D: staccato, NL: staccato, DK: staccato, S: staccato, N:
+
+Playing the note(s) short. Staccato is indicated by a dot above or below the
+notehead.
+
+@
+
+@mudela[13pt,eps]
+\key d;
+\time 4/4;
+\notes\relative c'' { 
+  \partial 8; a8 | 
+  d4-\staccato cis-\staccato b-\staccato cis-\staccato | 
+  d2. \bar "||"; }
+@end mudela
+
+@item staff
+I: pentagramma, rigo (musicale), F: port@'ee, D: Notensystem, NL: (noten)balk;
+partij, DK: nodesystem, S: notsystem, N: .
+
+pl. staves or staffs. A series of (normally 5) horizontal lines upon and
+between which the musical notes are written, thus indicating (in connection
+with a @w{@ar{}@strong{clef}}) their pitch. Staffs for
+@w{@ar{}@strong{percussion}} instruments may have fewer lines.
+
+@item stem
+I: gamba, F: queue, D: Hals, Notenhals, Stiel, NL: stok, DK: hals, S: skaft,
+N: .
+
+Vertical line above or below a @w{@ar{}@strong{note head}} shorter than a whole
+note. @w{@ar{}@strong{beam}}
+
+@
+
+@mudela[13pt,eps]
+\property Score.noAutoBeaming = "1"
+\property Score.barNonAuto = "1"
+\property Voice.textEmptyDimension = "1"
+\property Voice.textStyle = "large"
+\notes\relative c'' { 
+  g2_"1/2" g' s16
+  g,4_"1/4" g' s16
+  g,8_"1/8" g' s16
+  g,16_"1/16" g' s16
+}
+@end mudela
+
+@item strings
+I: archi, F: , D: Streicher, NL: strijkers, DK: strygere, S: str@aa{}kar, N: .
+
+A family of stringed musical instruments played with a bow. Strings commonly
+used in a symphony orchestra are violin, viola, violoncello and double bass.
+
+@item strong beat
+I: tempo forte, F: temps fort, D: betonter Taktteil oder -schlag, NL: thesis,
+D: betonet taktslag, S: betonat taktslag, N: .
+
+@w{@ar{}@strong{beat}} @w{@ar{}@strong{accent}} @w{@ar{}@strong{measure}}
+@w{@ar{}@strong{rhythm}}
+
+@item subdominant
+I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK:
+subdominant, S: subdominant, N: .
+
+The fourth @w{@ar{}@strong{scale degree}}. @w{@ar{}@strong{functional
+harmony}}
+
+@item submediant
+I: sopradominante, F: , D: Submediant, NL: submediant, DK: Submediant, S:
+submediant, N: .
+
+The sixth @w{@ar{}@strong{scale degree}}.
+
+@item subtonic
+I: sensibile, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S:
+subtonika, N: .
+
+The seventh @w{@ar{}@strong{scale degree}}
+
+@item superdominant
+I: sopradominante, F: sus-dominante, D: Superdominant, NL: superdominant, DK:
+superdominant, S: superdominant, N: .
+
+The sixth @w{@ar{}@strong{scale degree}} 
+
+@item supertonic
+I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK:
+supertonika, S: supertonika, N: .
+
+The second @w{@ar{}@strong{scale degree}}.
+
+@item symphony
+I: sinfonia, F: , D: Sinfonie, NL: symfonie, DK: symfoni, S: symfoni, N: .
+
+A symphony may be defined as a @w{@ar{}@strong{sonata}} for orchestra.
+
+@item syncopation
+I: sincope, F: syncope, D: Synkope, NL: syncope, DK: synkope, S: synkop, N: .
+
+Any deliberate upsetting of the normal pulse of @w{@ar{}@strong{meter}},
+@w{@ar{}@strong{accent}} and @w{@ar{}@strong{rhythm}}. Our system of musical
+rhythm rests upon the grouping of equal beats into groups of two or three,
+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.
+
+@
+
+@mudela[13pt,eps]
+\property Voice.textEmptyDimension = "1"
+\property Voice.textStyle = "large"
+\time 4/4;
+\notes\relative c' {
+  \partial 4;
+  d8 dis |
+  e c'4 e,8 c'4 e,8 c' ( | ) c2
+}
+@end mudela
+
+@item syntonic comma; dydimic comma
+
+I: comma sintonico (o didimico), F: comma syntonique, D: Syntonisches Komma,
+NL: syntonische komma, DK:@w{ }syntonisk komma, S: syntoniskt komma, N: .
+
+Difference between the natural third and the third obtained by Pythagorean
+tuning (@w{@ar{}@strong{Pythagorean comma}}), equal to 22 cents.
+
+@item system
+I: accollatura, F: syst@`eme, D: Notensystem, NL: systeem, DK: system, S:
+system, N: .
+
+The collection of staves @w{@ar{}@strong{staff}}, two or more, as used for the
+writing down of keyboard, chamber, choral or orchestral music.
+
+@item temperament
+I: temperamento, F: , D: Stimmung, Temperatur, NL: temperament, DK:
+temperatur, S: temperatur, N: .
+
+Systems of tuning in which the intervals deviate from the accoustically pure
+intervals. @w{@ar{}@strong{meantone temperament}} @w{@ar{}@strong{equal
+temperament}}
+
+@item tempo indication
+I: indicazioni di tempo, F: signe de temps, D: Zeitma@ss{}, Tempobezeichnung,
+NL: tempo aanduiding, DK: tempobetegelse, S: tempobeteckning, N: .
+
+The rate of speed of a composition or a section thereof, ranging from the
+slowest to the quickest, as is indicated by tempo marks as
+@w{@ar{}@strong{largo}}, @w{@ar{}@strong{adagio}}, @w{@ar{}@strong{andante}},
+@w{@ar{}@strong{allegro}} and @w{@ar{}@strong{presto}}.
+
+@item tenor
+I: tenore, F: t@'enor, D: Tenor, NL: tenor, DK: tenor, S: tenor, N: .
+
+The highest voice of men (apart from @w{@ar{}@strong{counter tenor}})
+ 
+@item tenth
+I: decima, F: , D: Dezime, NL: deciem, DK: decim, S: decima, N: .
+
+@w{@ar{}@strong{note value}}
+
+@item third
+I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, N: .
+
+@w{@ar{}@strong{interval}}
+
+@item thirty-second note
+
+I: biscroma, F: triple croche, UK: demisemiquaver, D:
+Zweiunddrei@ss{}igstel, Zweiunddrei@ss{}igstelnote, NL: 32e noot, DK:
+toogtredivtedelsnode, S: trettiotv@aa{}ondelsnot, N: .
+
+@w{@ar{}@strong{note value}}
+
+@item thirty-second rest
+
+I: pausa di biscroma, F: huiti@`eme de soupir, UK: demisemiquaver rest, D:
+Zweiunddrei@ss{}igstel@-pause, NL: 32e rust, DK: toogtredivtedelspause, S:
+trettiotv@aa{}ondelspaus, N: .
+
+@w{@ar{}@strong{note value}}
+
+@item thorough bass; figured bass
+I: basso continuo, F: basse chiffr@'e, D: Generalbass, bezifferter Bass, NL:
+basso continuo, DK:@w{ }generalbas, S: generalbas, N: .
+
+A method of indicating an accompaniment part by the bass notes only, together
+with figures designating the chief @w{@ar{}@strong{interval}}s and
+@w{@ar{}@strong{chord}}s to be played above the bass notes.
+ 
+@
+
+@mudela[13pt,eps]
+\context GrandStaff <
+  \notes\relative c'' { 
+    \time 4/4;
+    \key es;
+    \clef treble; 
+    < \context Voice = rha { 
+        \stemup
+        es4 d c bes | bes } 
+      \context Voice = rhb { 
+        \stemdown
+        < bes8 g > as < as f > g < g es > f < d f > es | < g4 es > } 
+    >
+  }
+  \property Voice.textStyle = "large"
+  \property Lyrics.textStyle = "Large"
+  \property Lyrics.minVerticalAlign = 6
+  \addlyrics
+    \notes\relative c' { 
+    \clef bass;
+    \key es;
+    es8 c () c bes () bes as () as g16 f | es4 
+  }
+  \context Lyrics \lyrics { 
+    < { "" "6" "4" "6" "4" "6" "4" "6" }
+      { "" "" "2" "" "2" "" "2" "" } >
+  } 
+>
+@end mudela
+
+@item tie; bind
+I: legatura (di valore), F: liaison, D: Haltebogen, NL: overbinding, DK:
+bindebue, S: bindeb@aa{}ge, @"overbindning, N: .
+
+A curved line, identical in appearance with the @w{@ar{}@strong{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.
+
+@
+
+@mudela[13pt,eps]
+\property Score.barNonAuto = "1"
+\notes\relative c'' { g2 ~ g4. }
+@end mudela
+
+@item time signature
+
+I: segni di tempo, F: chiffrage (chiffres indicateurs), signe de valeur,  D:
+Taktangabe, Angabe der Taktart, NL: maatsoort, DK: taktangivelse, S:
+taktartssignatur, N: .
+
+@w{@ar{}@strong{meter}}
+
+@item tone
+I: suono, F: ton, D: Ton, NL: toon, DK: tone, S: ton, N: .
+
+A sound of definite pitch and duration, as distinct from @emph{noise}. Tone is
+a primary building material of music. Music from the 20th century may be based
+on non tone related sounds.
+
+@item tonic
+I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, N: .
+
+The first @w{@ar{}@strong{scale degree}}@w{@ar{}@strong{functional harmony}}
+
+@item transposition
+I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK:
+transposition, S: transponering, N: .
+
+Shifting a melody up or down in pitch, while keeping the same relative pitches.
+
+@
+
+@mudela[13pt,eps]
+\context Staff {
+  \time 3/4;
+  \notes\relative c'' {
+    \key g;
+    d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; }
+  \transpose bes\relative c'' {
+    \key g;
+    d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; }
+}
+@end mudela
+
+@item treble clef
+I: chiave di violino, F: cl@'e de sol, D: Violinschl@"ussel,
+Sopranschl@"ussel, NL: viool sleutel, DK:@w{ }diskantn@o{}gle, S: diskantklav,
+N: .
+
+@w{@ar{}@strong{G clef}}
+
+@item tremolo
+I: tremolo, F: tr@`emolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, N:
+.
+
+On stringed instruments (@w{@ar{}@strong{strings}}) the quick reiteration of
+the same tone, produced by a rapid up-and-down movement movement of the bow
+(a). The term is also used for the rapid alternation (b) between two notes of
+a @w{@ar{}@strong{chord}}, usually in the distance of a third
+(@w{@ar{}@strong{interval}}).
+ 
+@
+
+@mudela[13pt,eps] 
+\property Voice.textEmptyDimension = "1"
+\property Score.barNonAuto = "1" 
+\property Voice.textStyle = "large"
+\notes\relative c' {
+  e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 [:32 e1_"b" g]
+} 
+@end mudela
+
+@item triad
+I: triade, F: , D: Dreiklang, NL: drieklank, DK: treklang, S: treklang, N:
+
+@w{@ar{}@strong{chord}}
+
+@item trill; shake
+I: trillo, F: trille, tremblement, battement (cadence), D: Triller, NL:
+triller, DK:@w{ }trille, S:@w{ }drill, N:@w{ }.
+
+@w{@ar{}@strong{ornament}}
+
+@item triple meter
+I: tempo ternario, F: temps ternaire, D: dreiteiliger Takt, NL: driedelige
+maatsoort, DK: tredelt takt, S: tretakt, N: .
+
+@w{@ar{}@strong{meter}}
+
+@item triplet
+I: terzina, F: triolet,  D: Triole, NL: triool, DK: triol, S: triol, N: .
+
+@w{@ar{}@strong{note value}}
+
+@item tritone
+I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, N:
+.
+
+@w{@ar{}@strong{interval}}
+
+@item tuning fork
+I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK:
+stemmegaffel, S: st@"amgaffel, N: .
+
+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.)
+ 
+@item turn; gruppetto
+I: grupetto, F: bris@`e, groupe, doubl@`e, grupetto, D: Doppelschlag, NL:
+dubbelslag, DK: dobbeltslag, S: dubbelslag, N: .
+
+@item unison
+I: unisono, F: unisson, D: Unison, unisono, NL: unisono, DK: unison, S:
+unison, N: .
+
+Playing of the same notes or the same melody by various instruments (voices)
+or by the whole orchestra (choir), either at exactly the same pitch or in a
+different octave.
+
+@item upbeat
+I: anacrusi, F: , D: Auftakt, NL: opmaat, I: , DK: optakt, S: upptakt, N:
+
+Initial note(s) of a melody occurring before the first bar
+line. @w{@ar{}@strong{measure}} @w{@ar{}@strong{meter}}
+
+@
+
+@mudela[13pt,eps]
+\key f;
+\time 4/4;
+\notes\relative c' { 
+  \partial 4; f4 | bes4. a8 bes4 c | 
+  bes () a g f | bes4. a8 bes4 c | f,2. \bar "||"; }
+@end mudela
+
+@item voice
+I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: st@"amma, N: ,
+
+1. Human voices: @w{@ar{}@strong{soprano}}, @w{@ar{}@strong{mezzo-soprano}},
+@w{@ar{}@strong{contralto}}, @w{@ar{}@strong{tenor}},
+@w{@ar{}@strong{baritone}}, @w{@ar{}@strong{bass}}. 2. A melodic layer or part
+of a polyphonic composition.
+
+@item weak beat
+I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder -schlag,
+NL: arsis, DK: ubetonet taktslag, S: obetonat taktslag, N: .
+
+@w{@ar{}@strong{beat}} @w{@ar{}@strong{measure}} @w{@ar{}@strong{rhythm}}
+
+@item whole note
+I: semibreve, F: ronde, UK: semibreve, D: Ganze, Ganze Note, NL: hele noot,
+DK: helnode, S: helnot, N: .
+
+@w{@ar{}@strong{note value}}
+
+@item whole rest
+I: pausa di semibreve, F: pause, UK: semibreve rest, D: Ganze Pause, NL: hele
+rust, DK: helnodespause, S: helnotspaus, N: .
+
+@w{@ar{}@strong{note value}}
+
+@item whole tone
+I: tono intero, F: , D: Ganzton, NL: hele toon, DK: heltone, S: helton, N: .
+
+The @w{@ar{}@strong{interval}} of a major second. The interval between two
+tones on the piano keyboard with exactly one key between them - including
+black and white keys - is a whole tone.
+
+@item woodwind
+I: legni, F: , D: Holzbl@"aser, NL: houtblazers, DK tr@ae{}bl@ae{}sere, S:
+tr@"abl@aa{}sare, N: .
+
+A family of blown wooden musical instruments. Today some of these instruments
+are actually made from metal. The woodwind instruments commonly used in a
+symphony orchestra are flute, oboe, clarinet, saxophone and bassoon.
+
+@
+
+@item ---------------------
+
+@
+
+@item Litterature used
+The Harvard Dictionary of Music, London 1944. Many more or less litteral
+quotes from its articles have been included into the item explanation texts.
+
+Hugo Riemans Musiklexicon, Berlin 1929
+
+Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.
+
+@end table
+
+@bye
-- 
2.39.5