--- /dev/null
- DK: ?,
- S: ?,
+\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
+@setfilename music-glosssary.info
+@settitle Music Glossary
+@documentencoding UTF-8
+@documentlanguage en
+
+@include macros.itexi
+
+@afourpaper
+
+@c see lilypond.tely for info installation note
+@dircategory LilyPond
+@direntry
+* Glossary: (music-glossary). Glossary of music terms.
+@end direntry
+
+@titlepage
+@title Music Glossary
+@author Christian Mondrup @c Original author of LilyPond glossary
+@c Danish glossary
+@author François Pinard @c Original glossary of GNU music project,
+@c French glossary
+@author Mats Bengtsson @c Swedish glossary
+@author David González @c Spanish glossary
+@author Bjoern Jacke @c German glossary
+@author Neil Jerram @c English glossary translations
+@author Heikki Junes @c Finnish glossary
+@author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
+@author Adrian Mariano @c Italian glossary
+@author Han-Wen Nienhuys @c Dutch glossary
+@author Jan Nieuwenhuizen @c Dutch glossary
+
+@c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
+@c Updates to the German translation by Till Rettig, 12/07
+
+Copyright @copyright{} 1999--2009 by the authors
+
+ Permission is granted to copy, distribute and/or modify this document
+ under the terms of the GNU Free Documentation License, Version 1.1
+ or any later version published by the Free Software Foundation,
+ without Invariant Sections.
+
+@end titlepage
+
+
+@c TODO: multiple omfcreators?
+@ignore
+@omfcreator Christian Mondrup, Kurt Kroon
+@omfdescription Glossary of musical terms with translations
+@omftype glossary
+@omfcategory Applications|Publishing
+@omflanguage English
+@end ignore
+
+@ifnottex
+@node Top
+@top Music glossary
+@end ifnottex
+
+
+@ifnottex
+
+@ifhtml
+@ifclear bigpage
+This document is also available as a
+@uref{source/Documentation/music-glossary.pdf,PDF} and as
+@uref{source/Documentation/music-glossary-big-page.html,one big page}.
+@end ifclear
+@ifset bigpage
+This document is also available as a
+@uref{source/Documentation/music-glossary.pdf,PDF} and as a
+@uref{source/Documentation/music-glossary/index.html,HTML indexed multiple pages}.
+@end ifset
+@end ifhtml
+
+This glossary was brought you by:
+
+@itemize
+
+@item @b{Christian Mondrup}: Original author of LilyPond glossary, Danish,
+@item @b{François Pinard}: Original glossary of GNU music project, French,
+
+@item @b{Han-Wen Nienhuys}: Dutch,
+@item @b{Jan Nieuwenhuizen}: Dutch,
+
+@item @b{Neil Jerram}: English,
+@item @b{Kurtis Kroon}: English,
+
+@item @b{Heikki Junes}: Finnish,
+
+@item @b{Bjoern Jacke}: German,
+
+@item @b{Adrian Mariano}: Italian,
+
+@item @b{David González}: Spanish,
+
+@item @b{Mats Bengtsson}: Swedish,
+
+@end itemize
+
+with additional contributions: thanks to all who have contributed.
+
+@ignore
+
+The list is rather long ...
+
+@itemize
+
+@item Danish:
+@itemize
+@item Rune Zedeler, @emph{pace}
+@item Eyolf Østrem
+@end itemize
+
+@item Dutch:
+@itemize
+@item Alard de Boer
+@end itemize
+
+@item English:
+@itemize
+@item Trevor Bača
+@item Trevor Daniels
+@item Andrew Hawryluk
+@item Ian Hulin
+@item Kieren MacMillan
+@item Patrick McCarty
+@item Ralph Palmer
+@item Carl D. Sorensen
+@item Anh Hai Trinh
+@end itemize
+
+@item Finnish:
+@itemize
+@item Risto Vääräniemi
+@end itemize
+
+@item German:
+@itemize
+@item Orm Finnendahl
+@item Reinhold Kainhofer
+@item Werner Lemberg
+@item Till Rettig
+@item Thomas Scharkowski
+@end itemize
+
+@item Italian
+@itemize
+@item Andrea Valle
+@end itemize
+
+@item Spanish
+@itemize
+@item Francisco Vila
+@end itemize
+
+@item Swedish
+@itemize
+@item Simon Dahlbacka
+@end itemize
+
+@end itemize
+@end ignore
+
+@*
+Copyright 1999--2009 by the authors
+
+ Permission is granted to copy, distribute and/or modify this document
+ under the terms of the GNU Free Documentation License, Version 1.1
+ or any later version published by the Free Software Foundation,
+ without Invariant Sections.
+
+@*
+@end ifnottex
+
+@c @pagesizes 10.3in
+@c @everyheading @| @thispage @|
+@c @evenheading @thispage @| @|
+@c @oddheading @| @| @thispage @|
+
+This is the Music Glossary (MG) for GNU LilyPond version @version{}.
+For more information about how this fits with the other
+documentation, see @rlearning{About the documentation}.
+
+
+@c arrowref
+@macro aref{word}
+@iftex
+@w{@expansion{}@strong{\word\}}@c
+@end iftex
+@ifnottex
+@expansion{}@ref{\word\, @strong{\word\}}@c
+@end ifnottex
+@end macro
+
+@menu
+* Musical terms A-Z::
+* Duration names notes and rests::
+* Pitch names::
+@end menu
+
+
+@node Musical terms A-Z
+@chapter Musical terms A-Z
+
+Languages in this order.
+@itemize
+@item UK - British English (where it differs from American English)
+@item ES - Spanish
+@item I - Italian
+@item F - French
+@item D - German
+@item NL - Dutch
+@item DK - Danish
+@item S - Swedish
+@item FI - Finnish
+@end itemize
+
+
+@menu
+* A::
+* a due::
+* accelerando::
+* accent::
+* accessory::
+* acciaccatura::
+* accidental::
+* adagio::
+* al niente::
+* alla breve::
+* allegro::
+* alteration::
+* alto::
+* alto clef::
+* ambitus::
+* anacrusis::
+* ancient minor scale::
+* andante::
+* appoggiatura::
+* arpeggio::
+* articulation::
+* ascending interval::
+* augmentation::
+* augmented interval::
+* autograph::
+* B::
+* backfall::
+* bar::
+* bar line::
+* baritone::
+* baritone clef::
+* bass::
+* bass clef::
+* beam::
+* beat::
+* beat repeat::
+* bind::
+* brace::
+* bracket::
+* brass::
+* breath mark::
+* breve::
+* C::
+* C clef::
+* cadence::
+* cadenza::
+* caesura::
+* canon::
+* cent::
+* central C::
+* chord::
+* chromatic scale::
+* chromaticism::
+* church mode::
+* clef::
+* cluster::
+* comma::
+* common meter::
+* common time::
+* complement::
+* compound interval::
+* compound meter::
+* compound time::
+* concert pitch::
+* conjunct movement::
+* consonance::
+* contralto::
+* copying music::
+* counterpoint::
+* countertenor::
+* crescendo::
+* cue-notes::
+* custos::
+* cut time::
+* D::
+* da capo::
+* dal niente::
+* dal segno::
+* decrescendo::
+* descending interval::
+* diatonic scale::
+* didymic comma::
+* diminished interval::
+* diminuendo::
+* diminution::
+* direct::
+* disjunct movement::
+* dissonance::
+* dissonant interval::
+* divisio::
+* doit::
+* dominant::
+* dominant ninth chord::
+* dominant seventh chord::
+* dorian mode::
+* dot (augmentation dot)::
+* dotted note::
+* double appoggiatura::
+* double bar line::
+* double dotted note::
+* double flat::
+* double sharp::
+* double time signature::
+* double trill::
+* duple meter::
+* duplet::
+* duration::
+* dynamics::
+* E::
+* ecclesiastical mode::
+* eighth note::
+* eighth rest::
+* elision::
+* embellishment::
+* engraving::
+* enharmonic::
+* equal temperament::
+* expression mark::
+* extender line::
+* F::
+* F clef::
+* fall::
+* feathered beam::
+* fermata::
+* fifth::
+* figured bass::
+* fingering::
+* flag::
+* flageolet::
+* flat::
+* forefall::
+* forte::
+* fourth::
+* Frenched score::
+* Frenched staff::
+* Frenched staves::
+* fugue::
+* functional harmony::
+* G::
+* G clef::
+* glissando::
+* grace notes::
+* grand staff::
+* grave::
+* gruppetto::
+* H::
+* hairpin::
+* half note::
+* half rest::
+* harmonic cadence::
+* harmonics::
+* harmony::
+* hemiola::
+* homophony::
++* hook::
+* hymn meter::
+* interval::
+* inversion::
+* inverted interval::
+* just intonation::
+* key::
+* key signature::
+* laissez vibrer::
+* largo::
+* leading note::
+* ledger line::
+* legato::
+* legato curve::
+* leger line::
+* ligature::
+* lilypond::
+* line::
+* loco::
+* long appoggiatura::
+* longa::
+* lyric tie::
+* lyrics::
+* major::
+* major interval::
+* maxima::
+* meantone temperament::
+* measure::
+* measure repeat::
+* mediant::
+* melisma::
+* melisma line::
+* melodic cadence::
+* mensural notation::
+* mensuration sign::
+* meter::
+* metronome::
+* metronome mark::
+* metronomic indication::
+* mezzo::
+* mezzo-soprano::
+* middle C::
+* minor::
+* minor interval::
+* mixolydian mode::
+* mode::
+* modulation::
+* mordent::
+* motif::
+* motive::
+* movement::
+* multi-measure rest::
+* natural::
+* neighbor tones::
+* ninth::
+* non-legato::
+* note::
+* note head::
+* note names::
+* note value::
+* octavation::
+* octave::
+* octave mark::
+* octave marking::
+* octave sign::
+* ornament::
+* ossia::
+* part::
+* pause::
+* pennant::
+* percent repeat::
+* percussion::
+* perfect interval::
+* phrase::
+* phrasing::
+* piano::
+* pickup::
+* pitch::
+* pizzicato::
+* polymeter::
+* polymetric::
+* polymetric time signature::
+* polyphony::
+* portato::
+* presto::
+* proportion::
+* Pythagorean comma::
+* quadruplet::
+* quality::
+* quarter note::
+* quarter rest::
+* quarter tone::
+* quintuplet::
+* rallentando::
+* relative key::
+* repeat::
+* rest::
+* rhythm::
+* ritardando::
+* ritenuto::
+* scale::
+* scale degree::
+* scordatura::
+* score::
+* second::
+* semibreve::
+* semitone::
+* seventh::
+* sextolet::
+* sextuplet::
+* shake::
+* sharp::
+* simile::
+* simple meter::
+* sixteenth note::
+* sixteenth rest::
+* sixth::
+* sixty-fourth note::
+* sixty-fourth rest::
+* slash repeat::
+* slur::
+* solmization::
+* sonata::
+* sonata form::
+* song texts::
+* soprano::
+* staccato::
+* staff::
+* staves::
+* stem::
+* stringendo::
+* strings::
+* strong beat::
+* subdominant::
+* submediant::
+* subtonic::
+* sul G::
+* superdominant::
+* supertonic::
+* symphony::
+* syncopation::
+* syntonic comma::
+* system::
+* temperament::
+* tempo indication::
+* tenor::
+* tenth::
+* tenuto::
+* third::
+* thirty-second note::
+* thirty-second rest::
+* thorough bass::
+* tie::
+* time::
+* time signature::
+* tone::
+* tonic::
+* transposing instrument::
+* transposition::
+* treble clef::
+* tremolo::
+* triad::
+* trill::
+* triple meter::
+* triplet::
+* tritone::
+* tuning fork::
+* tuplet::
+* turn::
+* unison::
+* upbeat::
+* voice::
+* volta::
+* weak beat::
+* whole note::
+* whole rest::
+* whole tone::
+* woodwind::
+@end menu
+
+
+@node A
+@section A
+
+@itemize
+@item ES: la
+@item I: la
+@item F: la
+@item D: A, a
+@item NL: a
+@item DK: a
+@item S: a
+@item FI: A, a
+@end itemize
+
+@seealso
+@ref{Pitch names}.
+
+
+@node a due
+@section a due
+
+ES: a dos,
+I: a due,
+F: à deux,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: kahdelle.
+
+Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores, @notation{a
+due} indicates that:
+
+@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 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
+
+@seealso
+No cross-references.
+
+
+@node accelerando
+@section accelerando
+
+ES: accelerando,
+I: accelerando,
+F: accelerando, en accélérant,
+D: accelerando, schneller werden,
+NL: accelerando,
+DK: accelerando,
+S: accelerando,
+FI: accelerando, kiihdyttäen.
+
+[Italian: @q{speed up, accelerate}]
+
+Increase tempo
+
+@seealso
+No cross-references.
+
+
+@node accent
+@section accent
+
+ES: acento,
+I: accento,
+F: accent,
+D: Akzent,
+NL: accent,
+DK: accent,
+S: accent,
+FI: aksentti, korostus.
+
+The stress of one tone over others.
+
+@seealso
+No cross-references.
+
+
+@node accessory
+@section accessory
+
+@seealso
+@ref{ornament}.
+
+
+@node acciaccatura
+@section acciaccatura
+
+ES: ?,
+I: acciaccatura,
+F: acciaccatura, appoggiature brève,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+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.
+
+@seealso
+@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
+
+
+@node accidental
+@section accidental
+
+ES: alteración accidental,
+I: accidento,
+F: altération accidentelle,
+D: Versetzungszeichen, Akzidenz,
+NL: toevallig (verplaatsings)teken,
+DK: løst fortegn,
+S: tillfälligt förtecken,
+FI: tilapäinen etumerkki.
+
+An accidental alters a note by:
+
+@itemize
+
+@item Raising its pitch:
+@itemize
+@item By two semitones (a whole tone)—@notation{double sharp}
+@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}
+@end itemize
+
+@item Or canceling the effects of the key signature or previous accidentals.
+@end itemize
+
+@lilypond[quote,notime]
+\score {
+ \new Staff {
+ \relative c'' {
+ \set Staff.extraNatural = ##f
+ gisis1 gis g! ges geses
+ }
+ }
+ \addlyrics {
+ \markup {
+ \center-column { double sharp }
+ }
+ sharp
+ natural
+ flat
+ \markup {
+ \center-column { double flat }
+ }
+ }
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner
+ #'base-shortest-duration = #(ly:make-moment 1 32)
+ }
+ }
+}
+@end lilypond
+
+@seealso
+@ref{alteration}, @ref{semitone}, @ref{whole tone}.
+
+
+@node adagio
+@section adagio
+
+ES: adagio,
+I: adagio,
+F: adagio, lent,
+D: Adagio, Langsam,
+NL: adagio,
+DK: adagio,
+S: adagio,
+FI: adagio, hitaasti.
+
+[Italian: @q{comfortable, easy}]
+
+@itemize
+
+@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.
+
+@end itemize
+
+@seealso
+@ref{andante}, @ref{largo}, @ref{sonata}.
+
+
+@node al niente
+@section al niente
+
+ES: ?,
+I: al niente,
+F: al niente, en mourant,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: häviten olemattomiin.
+
+[Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
+that the sound should fade away to nothing.
+
+@notation{Al niente} is indicated by circling the tip of the hairpin:
+
+@lilypond[quote,relative=2]
+\override Hairpin #'circled-tip = ##t
+c1\<
+c2\> c\<
+c1\!
+@end lilypond
+
+or with the actual phrase @notation{al niente}:
+
+@lilypond[quote,relative=2]
+\dimTextDecresc
+\override DynamicTextSpanner #'(bound-details right text) =
+ \markup { \italic { al niente } }
+c1\> ~
+c1 ~
+c1\!
+@end lilypond
+
+Since one does not crescendo @emph{to} nothing, it is not correct to use
+@notation{al niente} with @notation{crescendo}. Instead, one should use
+@emph{dal niente} (@notation{@b{from} nothing}).
+
+@seealso
+@ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
+
+
+@node alla breve
+@section alla breve
+
+ES: ?,
+I: ?,
+F: alla breve,à la brève,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[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.
+
+(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},
+@ref{proportion}, @ref{whole note}.
+
+
+@node allegro
+@section allegro
+
+ES: allegro,
+I: allegro,
+F: allegro, gaiement,
+D: Allegro, Schnell, Fröhlich, Lustig,
+NL: allegro,
+DK: allegro,
+S: allegro,
+FI: allegro, nopeasti.
+
+[Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
+quick tempo, especially the first and last movements of a sonata.
+
+@seealso
+@ref{sonata}.
+
+
+@node alteration
+@section alteration
+
+ES: alteración,
+I: alterazione,
+F: altération,
+D: Alteration,
+NL: verhoging of verlaging,
- ES: ?,
- I: ?,
++DK: Forandring,
++S: Förändring,
+FI: muunnettu.
+
+An alteration is the modification, raising or lowering, of a note's
+pitch. It is established by an accidental.
+
+@c TODO: add second meaning from mensural notation
+
+@seealso
+@ref{accidental}.
+
+
+@node alto
+@section alto
+
+ES: alto,
+I: contralto,
+F: alto,
+D: Alt,
+NL: alt,
+DK: alt,
+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
+known as countertenor.
+
+@seealso
+@ref{countertenor}.
+
+
+@node alto clef
+@section alto clef
+
+ES: clave de do en tercera,
+I: chiave di contralto,
+F: clef d'ut troisième ligne,
+D: Altschlüssel, Bratschenschlüssel,
+NL: alt sleutel,
+DK: altnøgle,
+S: altklav,
+FI: alttoavain.
+
+C clef setting middle C on the middle line of the staff.
+
+@seealso
+@ref{C clef}.
+
+
+@node ambitus
+@section ambitus
+
+ES: ámbito,
+I: ambitus,
+F: ambitus, tessiture,
+D: Ambitus,
+NL: ambitus,
+DK: ambitus,
+S: ambitus,
+FI: ambitus, ääniala, soitinala.
+
+[Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
+Denotes a range of pitches for a given voice in a part of music. It may
+also denote the pitch range that a musical instrument is capable of playing.
+Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
+
+@seealso
+No cross-references.
+
+
+@node anacrusis
+@section anacrusis
+
+ES: anacrusa,
+I: anacrusi,
+F: anacrouse, levée,
+D: Auftakt,
+NL: opmaat,
+DK: optakt,
+S: upptakt,
+FI: kohotahti.
+
+An anacrusis (also known as pickup or upbeat) is an incomplete measure
+of music before a section of music. It also refers to the initial
+note(s) of a melody occurring in that incomplete measure.
+
+@lilypond[quote,relative=1]
+\key f \major
+\time 4/4
+\partial 4 f4
+bes4. a8 bes4 c
+bes4( a) g f
+bes4. a8 bes4 c
+f,2. \bar "||"
+@end lilypond
+
+@seealso
+@ref{measure}, @ref{meter}.
+
+
+@node ancient minor scale
+@section ancient minor scale
+
+ES: escala menor natural,
+I: scala minore naturale,
+F: forme du mode mineur ancien, troisème mode, mode hellénique,
+D: reines Moll, natürliches Moll,
+NL: authentieke mineurtoonladder,
+DK: ren mol,
+S: ren mollskala,
+FI: luonnollinen molliasteikko.
+
+Also called @q{natural minor scale}.
+
+@lilypond[quote,notime,relative=2]
+a1 b c d e f g a
+@end lilypond
+
+
+@seealso
+@ref{diatonic scale}.
+
+
+@node andante
+@section andante
+
+ES: andante,
+I: andante,
+F: andante, allant,
+D: Andante, Gehend,
+NL: andante,
+DK: andante,
+S: andante,
+FI: andante, käyden.
+
+[Italian: present participle of @emph{andare}, @q{to walk}]
+
+Walking tempo/character.
+
+@seealso
+No cross-references.
+
+
+@node appoggiatura
+@section appoggiatura
+
+ES: apoyatura,
+I: appoggiatura,
+F: appoggiature, (port de voix),
+D: Vorschlag, Vorhalt
+NL: voorslag,
+DK: forslag,
+S: förslag,
+FI: appoggiatura, etuhele.
+
+Ornamental note, usually a second, that is melodically connected with
+the main note following it. In music before the 19th century
+appoggiature were usually performed on the beat, after that mostly
+before the beat. While the short appoggiatura is performed as a short
+note regardless of the duration of the main note the duration of the
+long appoggiatura is proportional to that of the main note.
+
+@lilypond[quote,relative=2]
+\key d \major
+\time 4/4
+<d a fis>4_"notation" r
+\grace g16
+fis8 e16 fis
+\grace a16
+g8 fis16 g |
+a4 \bar "||"
+
+\set Score.measurePosition = #ZERO-MOMENT
+<d, a fis>4_"performance" r
+g16( fis) e fis
+a16 ( g) fis g |
+a4 \bar "||"
+@end lilypond
+
+An appoggiatura may have more notes preceding the main note.
+
+@lilypond[quote,relative=2]
+\key as \major
+\time 2/4
+\grace bes16 as8-"notation" as16 bes as8 g |
+\grace { as16[( bes] } <c as>4)
+\grace { as16[( bes] } <c as>4) \bar "||"
+
+\grace bes16 as8-"performance" as16 bes as8 g |
+<<
+ {
+ \voiceOne
+ as32 bes c8. as32 bes c8.
+ }
+ \new Voice {
+ \voiceTwo
+ as16 ~ as8. as16 ~ as8.
+ }
+>>
+@end lilypond
+
+@seealso
+No cross-references.
+
+
+@node arpeggio
+@section arpeggio
+
+ES: arpegio,
+I: arpeggio,
+F: arpège,
+D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
+NL: gebroken akoord,
+DK: arpeggio, akkordbrydning,
+S: arpeggio,
+FI: arpeggio, murtosointu.
+
+[Italian: @q{harp-like, played like a harp}]
+
+@lilypond[quote,line-width=13\cm]
+\new PianoStaff <<
+ \context Staff = "SA" {
+ \relative c'' {
+ \clef treble
+ \time 4/4
+ 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 "||"
+ }
+ }
+ \context Staff = "SB" {
+ \relative c' {
+ \clef bass
+ <<
+ {
+ \voiceOne
+ r16 e8. ( e4) r16 e8. ( e4)
+ r16 d8. ( d4) r16 d8. ( d4)
+ }
+ \new Voice {
+ \voiceTwo
+ c2 c
+ c2 c
+ }
+ >>
+ }
+ }
+>>
+@end lilypond
+
+@seealso
+No cross-references.
+
+
+@node articulation
+@section articulation
+
+ES: articulación,
+I: articulazione,
+F: articulation,
+D: Artikulation,
+NL: articulatie,
+DK: ?,
+S: ?,
+FI: artikulaatio, ilmaisu.
+
+Articulation refers to notation which indicates how a note or notes
+should be played. Slurs, accents, staccato, and legato are all
+examples of articulation.
+
+@seealso
+No cross-references.
+
+
+@node ascending interval
+@section ascending interval
+
+ES: intervalo ascendente,
+I: intervallo ascendente,
+F: intervalle ascendant,
+D: steigendes Intervall,
+NL: stijgend interval,
+DK: stigende interval,
+S: stigande intervall,
+FI: nouseva intervalli.
+
+A distance between a starting lower note and a higher ending note.
+
+@seealso
+No cross-references.
+
+
+@node augmented interval
+@section augmented interval
+
+ES: intervalo aumentado,
+I: intervallo aumentato,
+F: intervalle augmenté,
+D: übermäßiges Intervall,
+NL: overmatig interval,
+DK: forstørret interval,
+S: överstigande intervall,
+FI: ylinouseva intervalli.
+
+@seealso
+@ref{interval}.
+
+
+@node augmentation
+@section augmentation
+
- D: ?,
- NL: ?,
- DK: ?,
- S: ?,
++ES: aumentación,
++I: aumentazione,
+F: augmentation,
++D: Augmentation,
++NL: Augmentatio,
++DK: Forøgelse,
++S: Förstoring,
+FI: aika-arvojen pidentäminen.
+
+@c TODO: add definition.
+
+This is a placeholder for augmentation (wrt mensural notation).
+
+@seealso
+@ref{diminution}, @ref{mensural notation}.
+
+
+@node autograph
+@section autograph
+
+ES: manuscrito,
+I: autografo,
+F: manuscrit, autographe
+D: Autograph, Handschrift,
+NL: manuscript,
+DK: håndskrift, autograf,
+S: handskrift,
+FI: käsinkirjoitettu nuotti.
+
+@itemize
+
+@item A manuscript written in the composer's own hand.
+
+@item Music prepared for photoreproduction by freehand drawing, with
+the aid of a straightedge ruler and T-square only, which attempts to
+emulate engraving. This required more skill than did engraving.
+
+@end itemize
+
+@seealso
+No cross-references.
+
+
+@node B
+@section B
+
+@itemize
+@item ES: si
+@item I: si
+@item F: si
+@item D: H, h
+@item NL: b
+@item DK: h
+@item S: h
+@item FI: H, h
+@end itemize
+
+@seealso
+@ref{H}, @ref{Pitch names}
+
+
+@node backfall
+@section backfall
+
+@seealso
+@ref{appoggiatura}.
+
+
+@node bar
+@section bar
+
+@seealso
+@ref{measure}.
+
+
+@node bar line
+@section bar line
+
+ES: barra, línea divisoria,
+I: stanghetta, barra (di divisione),
+F: barre (de mesure),
+D: Taktstrich,
+NL: maatstreep,
+DK: taktstreg,
+S: taktstreck,
+FI: tahtiviiva.
+
+A vertical line through the staff (or through multiple staves) that
+separates measures. Used very infrequently during the Renaissance (mostly
+in secular music, or in sacred music to indicate congruences between parts
+in otherwise-unmetered music).
+
+@seealso
+@ref{measure}.
+
+
+@node baritone
+@section baritone
+
+ES: barítono,
+I: baritono,
+F: bariton,
+D: Bariton,
+NL: bariton,
+DK: baryton,
+S: baryton,
+FI: baritoni, keskikorkuinen miesääni.
+
+The male voice intermediate in pitch between the bass and the tenor.
+
+@c F: clef de troisième ligne dropped
+
+@seealso
+@ref{bass}, @ref{tenor}.
+
+
+@node baritone clef
+@section baritone clef
+
+ES: clave de fa en tercera,
+I: chiave di baritono,
+F: clef d'ut cinquième ligne, clef de fa troisième,
+D: Baritonschlüssel,
+NL: baritonsleutel,
+DK: barytonnøgle,
+S: barytonklav,
+FI: baritoniavain.
+
+C or F clef setting middle C on the upper staff line.
+
+@seealso
+@ref{C clef}, @ref{F clef}.
+
+
+@node bass
+@section bass
+
+ES: bajo,
+I: basso,
+F: basse,
+D: Bass,
+NL: bas,
+DK: bas,
+S: bas,
+FI: basso, matala miesääni.
+
+@itemize
+
+@item The lowest male voice.
+
+@item Sometimes, especially in jazz music, used as an abbreviation for
+double bass.
+
+@end itemize
+
+@seealso
+@ref{strings}.
+
+
+@node bass clef
+@section bass clef
+
+ES: clave de fa en cuarta,
+I: chiave di basso,
+F: clef de fa quatrième ligne,
+D: Bassschlüssel,
+NL: bassleutel,
+DK: basnøgle,
+S: basklav,
+FI: bassoavain.
+
+A clef setting with middle C on the first top ledger line.
+
+@seealso
+@ref{F clef}.
+
+
+@node beam
+@section beam
+
+ES: barra
+I: coda,
+F: ligature, barre (de croches),
+D: Balken,
+NL: waardestreep,
+DK: bjælke,
+S: balk,
+FI: palkki.
+
+Line connecting a series of notes (shorter than a quarter note). The
+number of beams determines the note value of the connected notes.
+
+@lilypond[quote,notime,relative=2,line-width=13\cm]
+g8-"1/8"[ g g g] s16
+g16-"1/16"[ g g g] s
+g32-"1/32"[ s g s g s g] s16
+g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
+@end lilypond
+
+@seealso
+@ref{feathered beam}.
+
+
+@node beat
+@section beat
+
+ES: tiempo, parte (de compás)
+I: tempi,
+F: temps,
+D: Takt, Taktschlag, Zeit (im Takt),
+NL: tel,
+DK: (takt)slag,
+S: taktslag,
+FI: aika-arvo.
+
+Note value used for counting, most often half-, fourth-, and eighth notes.
+The base counting value and the number of them in each measure is indicated
+at the start of the music by the @notation{time signature}.
+
+@lilypond[quote,relative=2]
+\key g \major
+\time 4/4
+g4 c b a | g1 \bar "||"
+\time 3/8
+g8 d' c | b c a | g4. \bar "||"
+@end lilypond
+
+@seealso
+@ref{time signature}.
+
+
+@node beat repeat
+@section beat repeat
+
+@seealso
+@ref{percent repeat}.
+
+
+@node bind
+@section bind
+
+@seealso
+@ref{tie}.
+
+
+@node brace
+@section brace
+
+ES: llave, corchete,
+I: graffa,
+F: accolade,
+D: Klammer, Akkolade,
+NL: accolade, teksthaak,
+DK: klamme,
+S: klammer,
+FI: yhdistävä sulkumerkki.
+
+Symbol at the start of a system connecting staves.
+
+Curly braces are used for connecting piano staves, and sometimes for connecting
+the staves of like instruments in an orchestral score when written on different
+staves (e.g. first and second flutes):
+
+@lilypond[quote]
+\new GrandStaff <<
+ \context Staff = "SA" {
+ \relative c'' {
+ \clef treble
+ g4 e c2
+ }
+ }
+ \context Staff = "SB" {
+ \relative c {
+ \clef bass
+ c1
+ \bar "|."
+ }
+ }
+>>
+@end lilypond
+
+Angular brackets for connecting parts in an orchestral or choral score:
+
+@lilypond[quote]
+\new StaffGroup <<
+ \context Staff = "SA" {
+ \relative c'' {
+ \clef treble
+ g4 e c2
+ }
+ }
+ \context Staff = "SB" {
+ \relative c {
+ \clef bass
+ c1
+ \bar "|."
+ }
+ }
+>>
+@end lilypond
+
+@seealso
+No cross-references.
+
+
+@node bracket
+@section bracket
+
+ES: corchete,
+I: ?,
+F: crochet,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: sulkumerkki.
+
+@seealso
+@ref{brace}
+
+
+@node brass
+@section brass
+
+ES: metales,
+I: ottoni,
+D: Blechbläser,
+NL: koper (blazers),
+F: cuivres,
+DK: messingblæsere,
+S: brassinstrument, mässingsinstrument,
+FI: vaskisoitin.
+
+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 tuba.
+
+@seealso
+No cross-references.
+
+
+@node breath mark
+@section breath mark
+
+ES: respiración,
+I: respiro,
+F: respiration,
+D: Atemzeichen, Trennungszeichen,
+NL: repercussieteken,
+DK: vejrtrækningstegn,
+S: andningstecken,
+FI: hengitysmerkki.
+
+Indication of where to breathe in vocal and wind instrument parts.
+
+@seealso
+@ref{caesura}.
+
+
+@node breve
+@section breve
+
+@itemize
+@item US: breve, double-whole note
+@item ES: cuadrada, breve
+@item I: breve
+@item F: brève
+@item D: Brevis
+@item NL: brevis
+@item DK: brevis
+@item S: brevis
+@item FI: brevis, kaksoiskokonuotti
+@end itemize
+
+Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
+
+Mainly used in music from before 1650. In mensural notation, it was a note
+of fairly short duration—hence the name, which is Latin for @q{short} or
+@q{of short duration}.
+
+@lilypond[quote,notime,relative=2]
+g\breve
+@end lilypond
+
+@seealso
+@ref{mensural notation}, @ref{note value}, @ref{semibreve}.
+
+
+@node C
+@section C
+
+@itemize
+@item ES: do
+@item I: do
+@item F: ut, do
+@item D: C, c
+@item NL: c
+@item DK: c
+@item S: c
+@item FI: C, c
+@end itemize
+
+@seealso
+@ref{Pitch names}.
+
+
+@node C clef
+@section C clef
+
+ES: clave de do,
+I: chiave di do,
+F: clef d'ut,
+D: C-Schlüssel,
+NL: C-sleutel,
+DK: c-nøgle,
+S: c-klav,
+FI: C-avain.
+
+Clef symbol indicating the position of the middle C. Used on all note
+lines.
+
+@lilypond[quote,notime,relative=1,line-width=13.0\cm]
+\new Staff {
+ \override Staff.Clef #'full-size-change = ##t
+ \clef soprano c1
+ \clef mezzosoprano c1
+ \clef alto c1
+ \clef tenor c1
+ \clef baritone c1
+}
+\addlyrics {
+ \override Lyrics . LyricText #'self-alignment-X = #LEFT
+ "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
+}
+@end lilypond
+
+@seealso
+No cross-references.
+
+
+@node cadence
+@section cadence
+
+ES: cadencia,
+I: cadenza,
+F: cadence,
+D: Kadenz,
+NL: cadens,
+DK: kadence,
+S: kadens,
+FI: kadenssi, lopuke.
+
+@seealso
+@ref{harmonic cadence}, @ref{functional harmony}.
+
+
+@node cadenza
+@section cadenza
+
+ES: cadenza,
+I: cadenza,
+F: cadence,
+D: Kadenz,
+NL: cadens,
+DK: kadence,
+S: kadens,
+FI: kadenssi, lopuke.
+
+An extended, improvisatory style section inserted near the end of
+movement. The purpose of a cadenza is to give singers or players a
+chance to exhibit their technical skill and -- not last -- their
+ability to improvise. Since the middle of the 19th century, however,
+most cadenzas have been written down by the composer.
+
+@seealso
+No cross-references.
+
+
+@node caesura
+@section caesura
+
+ES: cesura,
+I: cesura,
+F: césure,
+D: Zäsur,
+NL: ?,
+DK: ?,
+S: ?,
+FI: välimerkki.
+
+[Latin: from the supine of @emph{caedere} @q{to cut down}]
+
+The break between two musical phrases, sometimes (but not always) marked by a
+rest or a breath mark.
+
+@seealso
+@ref{breath mark}.
+
+
+@node canon
+@section canon
+
+ES: canon,
+I: canone,
+F: canon,
+D: Kanon,
+NL: canon,
+DK: kanon,
+S: kanon,
+FI: kaanon, tarkka jäljittely.
+
+@seealso
+@ref{counterpoint}.
+
+
+@node cent
+@section cent
+
+ES: cent,
+I: cent,
+F: cent,
+D: Cent,
+NL: cent,
+DK: cent,
+S: cent,
+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).
+
+@seealso
+@ref{equal temperament}, @ref{semitone}.
+
+
+@node central C
+@section central C
+
+@seealso
+@ref{middle C}.
+
+
+@node chord
+@section chord
+
+ES: acorde,
+I: accordo,
+F: accord,
+D: Akkord,
+NL: akkoord,
+DK: akkord,
+S: ackord,
+FI: sointu.
+
+Three or more tones sounding simultaneously. In traditional European music
+the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
+(major + minor third) as well as @emph{minor} (minor + major third) chords
+may be extended with more thirds. Four-tone @emph{seventh chords} and
+five-tone @emph{ninth} major chords are most often used as dominants
+(functional harmony). Chords having no third above the lower notes to
+define their mood are a special case called @q{open chords}. The lack of
+the middle third means their quality is ambivalent -- neither major nor
+minor.
+
+@lilypond[quote,notime,line-width=13.0\cm]
+<<
+ \new Staff {
+ \relative c'' {
+ \set Staff.extraNatural = ##f
+ <g b d>1
+ <g bes d>
+ <g bes des>
+ <g b dis>
+ <g b d f>
+ <g b d f a>
+ }
+ }
+ \lyrics {
+ "major "
+ "minor "
+ "diminished "
+ "augmented "
+ "seventh-chord "
+ ninth-chord
+ }
+>>
+@end lilypond
+
+@seealso
+@ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
+@ref{third}.
+
+
+@node chromatic scale
+@section chromatic scale
+
+ES: escala cromática,
+I: scala cromatica,
+F: gamme chromatique,
+D: chro@-ma@-ti@-sche Tonleiter,
+NL: chromatische toonladder,
+DK: kromatisk skala,
+S: kromatisk skala,
+FI: kromaattinen asteikko.
+
+A scale consisting of all 12 semitones.
+
+@lilypond[quote,notime,relative=1,line-width=13.0\cm]
+c1 cis d dis e f fis g gis a ais b c
+@end lilypond
+
+@seealso
+@ref{semitone}.
+
+
+@node chromaticism
+@section chromaticism
+
+ES: cromatismo,
+I: cromatismo,
+F: chromatisme,
+D: Chromatik,
+NL: chromatiek,
+DK: kromatik,
+S: kromatik,
+FI: kromatiikka.
+
+Using tones extraneous to a diatonic scale (minor, major).
+
+@seealso
+@ref{diatonic scale}.
+
+
+@node church mode
+@section church mode
+
+ES: modo eclesiástico,
+I: modo ecclesiastico,
+F: mode ecclésiastique, mode d'église,
+D: Kirchentonart,
+NL: kerktoonladder,
+DK: kirketoneart,
+S: kyrkotonart,
+FI: moodi, kirkkosävellaji.
+
+@seealso
+@ref{diatonic scale}.
+
+
+@node clef
+@section clef
+
+ES: clave,
+I: chiave,
+F: clé, clef,
+D: Schlüssel, Notenschlüssel,
+NL: sleutel,
+DK: nøgle,
+S: klav,
+FI: avain, nuottiavain.
+
+The clef indicates which lines of the staff correspond to which
+pitches. The three clef symbols in common use are:
+
+@lilypond[quote]
+\markup {
+ \left-column {
+ \line { The Treble or G clef: }
+ \strut
+ \line { The Bass or F clef: }
+ \strut
+ \line { The Alto or C clef: }
+ }
+ \hspace #0.5
+ \left-column {
+ \musicglyph #"clefs.G"
+ \strut
+ \musicglyph #"clefs.F"
+ \strut
+ \musicglyph #"clefs.C"
+ }
+}
+@end lilypond
+
+Imagine a large staff of 11 lines centered on middle C, sometimes
+called a @q{grand staff}, with the bottom line representing low G and
+the top line high F:
+
+@lilypond[quote]
+\score {
+ <<
+ %-- Note names above treble staff --%
+ \new NoteNames {
+ \set printOctaveNames = ##t
+ g,1 b, d f a
+ \once \override NoteName #'color = #red
+ c'1
+ e'1 g' b' d'' f''
+ }
+ %-- Treble Staff --%
+ \new Staff = "G" {
+ \override Staff.Clef #'stencil = ##f
+ \clef "G"
+ s1 s s s s s
+ e'1 g' b' d'' f''
+ s1
+ }
+ %-- Alto Staff reduced to a single line on middle C --%
+ \new Staff = "C" {
+ \override Staff.StaffSymbol #'line-count = #1
+ \override Staff.StaffSymbol #'color = #red
+ \override Staff.Clef #'stencil = ##f
+ \clef "C"
+ s1 s s s s
+ \override NoteHead #'color = #red
+ c'1
+ s1 s s s s s
+ }
+ %-- Bass Staff --%
+ \new Staff = "F" {
+ \override Staff.Clef #'stencil = ##f
+ \clef "F"
+ g,1 b, d f a
+ s1 s s s s s s
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner
+ #'base-shortest-duration = #(ly:make-moment 1 1)
+ \override NonMusicalPaperColumn
+ #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
+ \override BarLine #'stencil = ##f
+ }
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ }
+ }
+}
+@end lilypond
+
+Staves of five lines are usually used, and the clef superimposed on
+them indicates which five lines have been selected from this
+@samp{grand staff}. For example, the treble or G clef indicates that
+the top five lines have been selected:
+
+@lilypond[quote]
+\score {
+ <<
+ %-- Note names above treble staff --%
+ \new NoteNames {
+ \set printOctaveNames = ##t
+ g,1 b, d f a
+ \once \override NoteName #'color = #red
+ c'1
+ s1
+ e'1 g' b' d'' f''
+ }
+ %-- Treble Staff --%
+ \new Staff = "G" {
+ \once \override Staff.Clef #'stencil = ##f
+ \clef "G"
+ s1 s s s s s s
+ \override Staff.Clef #'full-size-change = ##t
+ \set Staff.forceClef = ##t
+ \clef "G"
+ e'1 g' b' d'' f''
+ }
+ %-- Alto Staff reduced to a single line on middle C --%
+ \new Staff = "C" {
+ \override Staff.StaffSymbol #'line-count = #1
+ \override Staff.StaffSymbol #'color = #red
+ \override Staff.Clef #'stencil = ##f
+ \clef "C"
+ s1 s s s s
+ \override NoteHead #'color = #red
+ c'1
+ }
+ %-- Bass Staff --%
+ \new Staff = "F" {
+ \override Staff.Clef #'stencil = ##f
+ \clef "F"
+ g,1 b, d f a
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner
+ #'base-shortest-duration = #(ly:make-moment 2 1)
+ \override NonMusicalPaperColumn
+ #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
+ \override BarLine #'stencil = ##f
+ }
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ }
+ }
+}
+@end lilypond
+
+The @q{curl} of the G clef is centered on the line that represents the
+pitch G.
+
+In the same way, the bass or F clef indicates that the bottom five
+lines have been selected from the @samp{grand staff}, and the alto or
+C clef indicates the middle five lines have been selected. This
+relationship is shown below, where the notes show an arpeggio on a C
+major chord.
+
+@lilypond[quote]
+\score {
+ <<
+ %-- Treble Staff --%
+ \new Staff = "G" {
+ \clef "G"
+ s1 s s s
+ e'1 g' c'' s
+ }
+ %-- Alto Staff --%
+ \new Staff = "C" {
+ \override Staff.StaffSymbol #'line-count = #1
+ \once \override Staff.Clef #'stencil = ##f
+ \stopStaff
+ \clef "C"
+ s1 s s
+ \startStaff
+ \revert Staff.StaffSymbol #'stencil
+ \override Staff.StaffSymbol #'color = #red
+ c'1
+ s1 s s s s
+ \stopStaff \startStaff
+ \revert Staff.StaffSymbol #'line-count
+ \revert Staff.StaffSymbol #'color
+ \stopStaff \startStaff
+ \override Staff.Clef #'full-size-change = ##t
+ \set Staff.forceClef = ##t
+ \clef "C"
+ s1 s
+ c1 e g c' e' g' c''
+ }
+ %-- Bass Staff --%
+ \new Staff = "F" {
+ \clef "F"
+ c1 e g
+ s1 s s s s
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner #'base-shortest-duration =
+ #(ly:make-moment 2 1)
+ \override NonMusicalPaperColumn
+ #'line-break-system-details = #'((alignment-offsets . (0 -3 -6)))
+ \override BarLine #'stencil = ##f
+ }
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ }
+ }
+}
+@end lilypond
+
+@seealso
+@ref{C clef}, @ref{F clef}, @ref{G clef}.
+
+
+@node cluster
+@section cluster
+
+ES: racimo,
+I: ?,
+F: cluster,
+D: Cluster,
+NL: ?,
+DK: ?,
+S: ?,
+FI: klusteri, cluster.
+
+A @emph{cluster} is a range of simultaneously sounding pitches that
+may change over time. The set of available pitches to apply usually
+depends on the acoustic source. Thus, in piano music, a cluster
+typically consists of a continuous range of the semitones as provided
+by the piano's fixed set of a chromatic scale. In choral music, each
+singer of the choir typically may sing an arbitrary pitch within the
+cluster's range that is not bound to any diatonic, chromatic or other
+scale. In electronic music, a cluster (theoretically) may even cover
+a continuous range of pitches, thus resulting in colored noise, such
+as pink noise.
+
+Clusters can be denoted in the context of ordinary staff notation by
+engraving simple geometrical shapes that replace ordinary notation of
+notes. Ordinary notes as musical events specify starting time and
+duration of pitches; however, the duration of a note is expressed by
+the shape of the note head rather than by the horizontal graphical
+extent of the note symbol. In contrast, the shape of a cluster
+geometrically describes the development of a range of pitches
+(vertical extent) over time (horizontal extent). Still, the
+geometrical shape of a cluster covers the area in which any single
+pitch contained in the cluster would be notated as an ordinary note.
+
+@lilypond[quote,relative=2]
+\makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
+@end lilypond
+
+@seealso
+No cross-references.
+
+
+@node comma
+@section comma
+
+ES: coma, comma,
+I: comma,
+F: comma,
+D: Komma,
+NL: komma,
+DK: komma,
+S: komma,
+FI: komma, korvinkuultava ero äänenkorkeudessa.
+
+Difference in pitch between a note derived from pure tuning and the
+same note derived from some other tuning method.
+
+@seealso
+@ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
+@ref{temperament}.
+
+
+@node common meter
+@section common meter
+
+Another name for @ref{common time}.
+
+@seealso
+@ref{common time}, @ref{meter}.
+
+
+@node common time
+@section common time
+
+ES: compasillo,
+I: ?,
+F: mesure à 4/4,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: C-merkintä.
+
+4/4 time. The symbol, which resembles a capital letter C, comes from
+mensural notation.
+
+@seealso
+@ref{mensural notation}, @ref{meter}.
+
+
+@node complement
+@section complement
+
+ES: intervalo invertido,
+I: rivolto,
+F: intervalle complémentaire,
+D: Komplementärintervall,
+NL: complementair interval,
+DK: komplementærinterval,
+S: komplementärintervall (?),
+FI: täydentävä intervalli.
+
+@seealso
+@ref{inverted interval}.
+
+
+@node compound interval
+@section compound interval
+
+ES: intervalo compuesto,
+I: intervallo composto,
+F: intervalle composé,
+D: weites Intervall,
+NL: samengesteld interval,
+DK: sammensat interval,
+S: sammansatt intervall,
+FI: oktaavia laajempi intervalli.
+
+Intervals larger than an octave.
+
+@seealso
+@ref{interval}.
+
+
+@node compound meter
+@section compound meter
+
+ES: compás compuesto, compás de subdivisión ternaria,
+I: ?,
+F: mesure composée,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: kolmijakoinen tahtilaji.
+
+A meter that includes a triplet subdivision within the beat, such as
+6/8, 9/8, 12/8.
+
+@seealso
+@ref{meter}, @ref{simple meter}.
+
+
+@node compound time
+@section compound time
+
+ES: compás compuesto, compás de amalgama (def. 2),
+I: ?,
+F: temps composé,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: yhdistetty tahtilajiosoitus.
+
+@enumerate
+
+@item
+A meter that includes a triplet subdivision within the beat: see
+@ref{compound meter}.
+
+@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.
+
+@end enumerate
+
+@lilypond[quote,line-width=13.0\cm]
+#(define ((compound-time one two three num) grob)
+ (grob-interpret-markup grob
+ (markup
+ #:override '(baseline-skip . 0)
+ #:number
+ #:line (
+ #:left-column (one num)
+ #:vcenter "+"
+ #:left-column (two num)
+ #:vcenter "+"
+ #:left-column (three num)))))
+
+\relative c' {
+ \key f \major
+ #(set-time-signature 8 8 '(3 2 3))
+ \override Staff.TimeSignature #'stencil =
+ #(compound-time "3" "2" "3" "8")
+ #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
+ #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
+
+ c8 d e f4 d8 c bes
+ c4 g'8 e c f4.
+ \bar "||"
+}
+@end lilypond
+
+@seealso
+@ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
+
+
+@node concert pitch
+@section concert pitch
+
+ES: en Do, afinación de concierto,
+I: ?,
+F: tonalité de concert, en ut,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: konserttikorkeus.
+
+The pitch at which the piano and other nontransposing instruments play: such
+instruments are said to be @q{in C}. The following list includes some (but not
+all) instruments that play in concert pitch:
+
+@c Let's see how easy (or hard) it is to put bulleted lists in tables.
+
+@multitable {alto trombone} {tenor trombone} {bass trombone}
+@headitem Woodwinds @tab Brass @tab Strings
+
+@item
+@itemize
+@item flute
+@item oboe
+@item bassoon
+@end itemize
+
+@tab
+
+@itemize
+@item alto trombone
+@item tenor trombone
+@item bass trombone
+@end itemize
+
+@tab
+
+@itemize
+@item violin
+@item viola
+@item violoncello
+@end itemize
+
+@end multitable
+
+The trombones are a special case: although they are said to be @q{in F} (alto or
+bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
+their parts' transposition. (In fact, the trombones' parts are written at
+concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
+from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
+instruments.
+
+Instruments that play @q{in C} but in a different octave than what is written
+are, technically speaking, @emph{transposing instruments}:
+
+@itemize
+
+@item piccolo (plays an octave higher)
+@item celesta (plays an octave higher)
+@item double bass (plays an octave lower)
+
+@end itemize
+
+@seealso
+@ref{transposing instrument}.
+
+
+@node conjunct movement
+@section conjunct movement
+
+ES: movimiento conjunto,
+I: moto congiunto,
+F: mouvement conjoint,
+D: schritt@-weise, stufenweise Bewegung,
+NL: stapsgewijze, trapsgewijze beweging,
+DK: trinvis bevægelse,
+S: stegvis rörelse,
+FI: asteittainen liike.
+
+Progressing melodically by intervals of a second, as contrasted with
+@emph{disjunct movement}.
+
+@lilypond[quote,relative=2,line-width=13.0\cm]
+\key g \major
+\time 4/4
+g4 g g a | b2 a | g4 b a a | g1 \bar "||"
+@end lilypond
+
+@seealso
+@ref{disjunct movement}.
+
+
+@node consonance
+@section consonance
+
+ES: consonancia,
+I: consonanza,
+F: consonance,
+D: Konsonanz,
+NL: consonant,
+DK: konsonans,
+S: konsonans,
+FI: konsonanssi, sopusointi.
+
+@seealso
+@ref{harmony}.
+
+
+@node contralto
+@section contralto
+
+ES: contralto,
+I: contralto,
+F: contralto,
+D: Alt,
+NL: contralto,
+DK: alt,
+S: alt,
+FI: kontra-altto.
+
+@seealso
+@ref{alto}.
+
+
+@node copying music
+@section 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 note heads on stems) varied slightly from those of engravers. Some
+of their working methods were superior and could well be adopted by
+music typesetters.
+
+@c Copying music required more skill than engraving. Flagged for NPOV
+
+@seealso
+No cross-references.
+
+
+@node counterpoint
+@section counterpoint
+
+ES: contrapunto,
+I: contrappunto,
+F: contrepoint,
+D: Kontrapunkt,
+NL: contrapunt,
+DK: kontrapunkt,
+S: kontrapunkt,
+FI: kontrapunkti, ääni ääntä vastaan.
+
+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.
+
+@lilypond[quote,staffsize=12,line-width=13.0\cm]
+\new PianoStaff <<
+ \context Staff = SA \relative c' {
+ \key bes \major
+ \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
+ }
+ >>
+ }
+ \context Staff = SB \relative c' {
+ \clef bass
+ \key bes \major
+ << \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 lilypond
+
+@seealso
+No cross-references.
+
+
+@node countertenor
+@section countertenor
+
+ES: contratenor,
+I: controtenore,
+F: contre-tenor,
+D: Countertenor, Kontratenor,
+NL: contratenor,
+DK: kontratenor,
+S: kontratenor, counter tenor,
+FI: kontratenori.
+
+@seealso
+@ref{contralto}.
+
+
+@node crescendo
+@section crescendo
+
+ES: crescendo,
+I: crescendo,
+F: crescendo,
+D: Crescendo, lauter werden,
+NL: crescendo,
+DK: crescendo,
+S: crescendo,
+FI: cresendo, voimistuen.
+
+Increasing volume. Indicated by a rightwards opening horizontal wedge
+(hairpin) or the abbreviation @notation{cresc.}.
+
+@lilypond[quote,relative=2]
+\key g \major
+\time 4/4
+g4\< a b c | d1\! \bar "|."
+@end lilypond
+
+@seealso
+@ref{decrescendo}, @ref{hairpin}.
+
+
+@node cue-notes
+@section cue-notes
+
+ES: notas guía,
+I: notine,
+F: petites notes précédant l'entrée d'un instrument, réplique, "à défaut",
+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.
+
+@seealso
+No cross-references.
+
+
+@node custos
+@section custos
+
+ES: custos,
+I: ?,
+F: guidon,
+D: Notenzeiger, Custos,
+NL: ?,
+DK: ?,
+S: ?,
+FI: vihje.
+
+A custos (plural: custodes) is a staff symbol that appears at the end of a
+staff line with monophonic musical contents (i.e., with a single voice). It
+anticipates the pitch of the first note of the following line and thus helps
+the player or singer to manage line breaks during performance, which
+enhances the readability of a score.
+
+Custodes were frequently used in music notation until the 16th century.
+There were different appearences for different notation styles. Nowadays,
+they have survived only in special forms of musical notation such as the
+@emph{Editio Vaticana}, dating from the beginning of the 20th century
+
+@lilypond[quote,ragged-right]
+\score {
+ \new Staff {
+ \override Staff.Custos #'neutral-direction = #DOWN
+ \override Staff.Custos #'style = #'hufnagel
+ c'1 \break
+ <d' a' f''>1
+ }
+ \layout {
+ \context {
+ \Staff
+ \consists "Custos_engraver"
+ }
+ }
+}
+@end lilypond
+
+@seealso
+No cross-references.
+
+
+@node cut time
+@section cut time
+
+@seealso
+@ref{alla breve}.
+
+
+@node D
+@section D
+
+@itemize
+@item ES: re
+@item I: re
+@item F: ré
+@item D: D, d
+@item NL: d
+@item DK: d
+@item S: d
+@item FI: D, d
+@end itemize
+
+@seealso
+@ref{Pitch names}
+
+
+@node da capo
+@section da capo
+
+ES: da capo,
+I: da capo,
+F: da capo, depuis le commencement,
+D: da capo, von Anfang,
+NL: da capo,
+DK: da capo,
+S: da capo,
+FI: da capo, alusta.
+
+Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
+the beginning to the end or to a certain place marked @emph{fine}.
+
+@seealso
+No cross-references.
+
+
+@node dal niente
+@section dal niente
+
+ES: ?,
+I: dal niente,
+F: partant de rien,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: tyhjästä ilmaantuen.
+
+[Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
+that the sound should gradually increase from nothing.
+
+@seealso
+@ref{al niente}.
+
+
+@node dal segno
+@section dal segno
+
+ES: dal segno,
+I: dal segno,
+F: dal segno, depuis le signe,
+D: dal segno, ab dem Zeichen,
+NL: dal segno,
+DK: dal segno,
+S: dal segno,
+FI: dal segno, lähtien merkistä.
+
+Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
+another place frequently near the beginning marked by a sign
+(@notation{segno}):
+
+@lilypond[quote,relative=2]
+\key g \major
+\time 4/4
+d1
+g,4^\segno a b c
+b4 a g2-\markup {
+ \italic "D.S. "
+ \tiny \raise #1
+ \musicglyph #"scripts.segno"
+}
+\bar "|."
+@end lilypond
+
+@seealso
+No cross-references.
+
+
+@node decrescendo
+@section decrescendo
+
+ES: decrescendo,
+I: decrescendo,
+D: Decrescendo, leiser werden,
+NL: decrescendo,
+DK: decrescendo,
+S: decrescendo,
+FI: decresendo, hiljentyen.
+
+Decreasing tone volume. Indicated by a leftwards opening horizontal
+wedge (hairpin) or the abbreviation @notation{decresc.}.
+
+@lilypond[quote,relative=2]
+\key g \major
+\time 4/4
+d4\> c b a | g1 \! \bar "|."
+@end lilypond
+
+@seealso
+@ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
+
+
+@node descending interval
+@section descending interval
+
+ES: intervalo descendente,
+I: intervallo discendente,
+F: intervalle descendant,
+D: fallendes Intervall, absteigendes Intervall,
+NL: dalend interval,
+DK: faldende interval,
+S: fallande intervall,
+FI: laskeva intervalli.
+
+A distance between a starting higher note and a lower ending note.
+
+@seealso
+No cross-references.
+
+
+@node diatonic scale
+@section diatonic scale
+
+ES: escala diatónica,
+I: scala diatonica,
+F: gamme diatonique,
+D: diatonische Tonleiter,
+NL: diatonische toonladder,
+DK: diatonisk skala,
+S: diatonisk skala,
+FI: diatoninen asteikko.
+
+A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
+played on the white keys of a piano keybord are diatonic. These scales
+are sometimes called, somewhat inaccurately, @q{church modes}).
+
+These @emph{modes} are used in Gregorian chant and in pre-baroque early music
+but also to some extent in newer jazz music.
+
+@lilypond[quote,notime,relative=1]
+<<
+ {
+ c1 d
+ e^"~~ S" f g a b^"~~ S" c
+ }
+ \lyrics {
+ Ionian
+ }
+>>
+@end lilypond
+
+@lilypond[quote,notime,relative=1]
+<<
+ {
+ d1
+ e^"~~ S" f g a b^"~~ S" c d
+ }
+ \lyrics {
+ Dorian
+ }
+>>
+@end lilypond
+
+@lilypond[quote,notime,relative=1]
+<<
+ {
+ e1^"~~ S" f g a b^"~~ S" c d e
+ }
+ \lyrics {
+ Phrygian
+ }
+>>
+@end lilypond
+
+@lilypond[quote,notime,relative=1]
+<<
+ {
+ f1 g a
+ b^"~~ S" c d e^"~~ S" f
+ }
+ \lyrics {
+ Lydian
+ }
+>>
+@end lilypond
+
+@lilypond[quote,notime,relative=2]
+<<
+ {
+ g1 a
+ b^"~~ S" c d e^"~~ S" f g
+ }
+ \lyrics {
+ Mixolydian
+ }
+>>
+@end lilypond
+
+@lilypond[quote,notime,relative=2]
+<<
+ {
+ a1
+ b^"~~ S" c d e^"~~ S" f g a
+ }
+ \lyrics {
+ Aeolian
+ }
+>>
+@end lilypond
+
+@lilypond[quote,notime,relative=2]
+<<
+ {
+ b1^"~~ S" c d e^"~~ S" f g a b
+ }
+ \lyrics {
+ Locrian
+ }
+>>
+@end lilypond
+
+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.
+
+@lilypond[quote,notime,relative=1]
+<<
+ {
+ c1 d
+ e^"~~ S" f g a b^"~~ S" c
+ }
+ \lyrics {
+ Major
+ }
+>>
+@end lilypond
+
+@lilypond[quote,notime,relative=2]
+<<
+ {
+ a1
+ b^"~~ S" c d e^"~~ S" f g a
+ }
+ \lyrics {
+ "Ancient (or Natural) minor"
+ }
+>>
+@end lilypond
+
+@lilypond[quote,notime,relative=2]
+<<
+ {
+ a1
+ b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
+ }
+ \lyrics {
+ "Harmonic minor"
+ }
+>>
+@end lilypond
+
+@lilypond[quote,notime,relative=2]
+<<
+ {
+ a1
+ b^"~~ S" c d e fis gis^"~~ S" a
+ }
+ \lyrics {
+ "Melodic minor ascending"
+ }
+>>
+@end lilypond
+
+@lilypond[quote,notime,relative=3]
+<<
+ {
+ a1
+ g! f!^"~~ S" e d c^"~~ S" b a
+ }
+ \lyrics {
+ "Melodic minor descending"
+ }
+>>
+@end lilypond
+
+@seealso
+@ref{semitone}, @ref{whole tone}.
+
+
+@node didymic comma
+@section didymic comma
+
+@seealso
+@ref{syntonic comma}.
+
+
+@node diminished interval
+@section diminished interval
+
+ES: intervalo disminuido,
+I: intervallo diminuito,
+F: intervalle diminué,
+D: vermindertes Intervall,
+NL: verminderd interval,
+DK: formindsket interval,
+S: förminskat intervall,
+FI: vähennetty intervalli.
+
+@seealso
+@ref{interval}.
+
+
+@node diminuendo
+@section diminuendo
+
+ES: diminuendo,
+I: diminuendo,
+F: diminuendo, en diminuant,
+D: diminuendo,
+NL: diminuendo,
+DK: diminuendo,
+S: diminuendo,
+FI: diminuendo, hiljentyen.
+
+@seealso
+@ref{decrescendo}.
+
+
+@node diminution
+@section diminution
+
+ES: ?,
+I: ?,
+F: diminution,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: aika-arvojen tihennys.
+
+This is a stub for diminution (@emph{wrt} mensural notation).
+
+@seealso
+@ref{augmentation}, @ref{mensural notation}.
+
+
+@node direct
+@section direct
+
+ES: ?,
+I: ?,
+F: ?,
+D: Weiser, Zeiger,
+NL: ?,
+DK: ?,
+S: ?,
+FI: suora.
+
+@seealso
+@ref{custos}.
+
+
+@node disjunct movement
+@section disjunct movement
+
+ES: movimiento disjunto,
+I: moto disgiunto,
+F: mouvement disjoint,
+D: sprunghafte Bewegung,
+NL: sprongsgewijze beweging,
+DK: springende bevægelse,
+S: hoppande rörelse,
+FI: melodian hyppivä liike.
+
+Progressing melodically by intervals larger than a major second, as contrasted
+with conjunct movement.
+
+@lilypond[quote,relative=1]
+\key a \major
+\time 4/4 {
+ \partial 8 e8 |
+ a4. gis8 b a e cis |
+ fis2 d4.
+ \bar "||" }
+@end lilypond
+
+@seealso
+@ref{conjunct movement}.
+
+
+@node dissonance
+@section dissonance
+
+Another name for @ref{dissonant interval}.
+
+@seealso
+@ref{dissonant interval}, @ref{harmony}.
+
+
+@node dissonant interval
+@section dissonant interval
+
+ES: intervalo disonante, disonancia,
+I: intervallo dissonante, dissonanza,
+F: intervalle dissonant, dissonance,
+D: Dissonanz,
+NL: dissonant interval, dissonant,
+DK: dissonerende interval, dissonans,
+S: dissonans,
+FI: dissonanssi, dissonoiva intervalli, riitasointi.
+
+@seealso
+@ref{harmony}.
+
+
+@node divisio
+@section divisio
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: jäsennysmerkki.
+
+[Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
+vertical stroke through part or all of the staff that serves to
+structure a chant into phrases and sections. There are four types:
+
+@itemize
+
+@item @emph{divisio minima}, a short pause
+
+@item @emph{divisio maior}, a medium pause
+
+@item @emph{divisio maxima}, a long pause
+
+@item @emph{finalis}, to indicate the end of a chant, or the end of a
+section in a long antiphonal or responsorial chant.
+
+@end itemize
+
+TODO: musical example here?
+
+@seealso
+No cross-references.
+
+
+@node doit
+@section doit
+
+ES: ?,
+I: ?,
+F: saut,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: nousu.
+
+Indicator for a indeterminately rising pitch bend. Compare with
+@emph{glissando}, which has determinate starting and ending pitches.
+
+@seealso
+@ref{fall}, @ref{glissando}.
+
+
+@node dominant
+@section dominant
+
+ES: dominante,
+I: dominante,
+F: dominante,
+D: Dominante,
+NL: dominant,
+DK: dominant,
+S: dominant,
+FI: dominantti, huippusointu.
+
+The fifth @emph{scale degree} in @emph{functional harmony}.
+
+@seealso
+@ref{functional harmony}, @ref{scale degree}.
+
+
+@node dominant ninth chord
+@section dominant ninth chord
+
+ES: acorde de novena de dominante,
+I: accordo di nona di dominante,
+F: accord de neuvième de dominante,
+D: Domi@-nant@-nonen@-akkord,
+NL: dominant noon akkoord,
+DK: dominantnoneakkord,
+S: dominantnonackord,
+FI: dominanttinoonisointu.
+
+@seealso
+@ref{chord}, @ref{functional harmony}.
+
+
+@node dominant seventh chord
+@section dominant seventh chord
+
+ES: acorde de séptima de dominante,
+I: accordo di settima di dominante,
+F: accord de septième de dominante,
+D: Dominantseptakkord,
+NL: dominant septiem akkoord,
+DK: dominantseptimakkord,
+S: dominantseptimackord,
+FI: dominanttiseptimisointu.
+
+@seealso
+@ref{chord}, @ref{functional harmony}.
+
+
+@node dorian mode
+@section dorian mode
+
+ES: modo dórico,
+I: modo dorico,
+F: mode dorien,
+D: dorisch, dorischer Kirchenton,
+NL: dorische toonladder,
+DK: dorisk skala,
+S: dorisk tonart,
+FI: doorinen moodi.
+
+@seealso
+@ref{diatonic scale}.
+
+
+@node dot (augmentation dot)
+@section dot (augmentation dot)
+
+ES: puntillo,
+I: punto (di valore),
+F: point,
+D: Punkt (Verlängerungspunkt),
+NL: punt,
+DK: punkt,
+S: punkt,
+FI: piste.
+
+@seealso
+@ref{dotted note}, @ref{note value}.
+
+
+@node dotted note
+@section dotted note
+
+ES: nota con puntillo,
+I: nota puntata,
+F: note pointée,
+D: punktierte Note,
+NL: gepuncteerde noot,
+DK: punkteret node,
+S: punkterad not,
+FI: pisteellinen nuotti.
+
+@seealso
+@ref{note value}.
+
+
+@node double appoggiatura
+@section double appoggiatura
+
+ES: apoyatura doble,
+I: appoggiatura doppia,
+F: appoggiature double,
+D: doppelter Vorschlag,
+NL: dubbele voorslag,
+DK: dobbelt forslag,
+S: dubbelslag,
+FI: kaksoisappogiatura, kaksoisetuhele.
+
+@seealso
+@ref{appoggiatura}.
+
+
+@node double bar line
+@section double bar line
+
+ES: doble barra,
+I: doppia barra,
+F: double barre,
+D: Doppelstrich,
+NL: dubbele maatstreep,
+DK: dobbeltstreg,
+S: dubbelstreck,
+FI: kaksoistahtiviiva.
+
+Indicates the end of a section within a movement.
+
+@seealso
+No cross-references.
+
+
+@node double dotted note
+@section double dotted note
+
+ES: nota con doble puntillo,
+I: nota doppiamente puntata,
+F: note doublement pointée,
+D: doppelt punktierte Note,
+NL: dubbelgepuncteerde noot,
+DK: dob@-belt@-punk@-te@-ret node,
+S: dub@-bel@-punk@-te@-rad not,
+FI: kaksoispisteellinen nuotti.
+
+@seealso
+@ref{note value}.
+
+
+@node double flat
+@section double flat
+
+ES: doble bemol,
+I: doppio bemolle,
+F: double bémol,
+D: Doppel-B,
+NL: dubbelmol,
+DK: dob@-belt-b,
+S: dubbelbe,
+FI: kaksoisalennusmerkki.
+
+@seealso
+@ref{accidental}.
+
+
+@node double sharp
+@section double sharp
+
+ES: doble sostenido,
+I: doppio diesis,
+F: double dièse,
+D: Doppelkreuz,
+NL: dubbelkruis,
+DK: dob@-belt@-kryds,
+S: dubbelkors,
+FI: kaksoisylennysmerkki.
+
+@seealso
+@ref{accidental}.
+
+
+@node double time signature
+@section double time signature
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: kaksois-aika-arvomerkintä.
+
+@seealso
+@ref{polymetric time signature}.
+
+
+@node double trill
+@section double trill
+
+ES: trino doble,
+I: doppio trillo,
+F: trille double,
+D: Doppeltriller,
+NL: dubbele triller,
+DK: dobbelttrille,
+S: dubbeldrill,
+FI: kaksoistrilli.
+
+A simultaneous trill on two notes, usually in the distance of a third.
+
+@seealso
+No cross-references.
+
+
+@node duple meter
+@section duple meter
+
+ES: tiempo binario,
+I: tempo binario,
+F: métrique binaire,
+D: in zwei, grader Takt,
+NL: tweedelige maatsoort,
+DK: todelt takt,
+S: tvåtakt,
+FI: kaksoistempo.
+
+@seealso
+@ref{meter}.
+
+
+@node duplet
+@section duplet
+
+ES: dosillo,
+I: duina,
+F: duolet,
+D: Duole,
+NL: duool,
+DK: duol,
+S: duol,
+FI: duoli.
+
+@seealso
+@ref{note value}.
+
+
+@node duration
+@section duration
+
+ES: duración,
+I: durata,
+F: durée,
+D: Dauer, Länge,
+NL: duur, lengte,
+DK: varighed,
+S: tonlängd,
+FI: kesto, aika-arvo.
+
+@seealso
+@ref{note value}.
+
+
+@node dynamics
+@section dynamics
+
+ES: dinámica, matices,
+I: ?,
+F: nuances,
+D: Dynamik, Lautstärke,
+NL: ?,
+DK: ?,
+S: ?,
+FI: äänen voimakkuusvaihtelu, dynamiikka.
+
+The aspect of music relating to degrees of loudness, or changes from
+one degree to another. The terms, abbreviations, and symbols used to
+indicate this information are called dynamic marks.
+
+@seealso
+@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
+@ref{diminuendo}.
+
+
+@node E
+@section E
+
+@itemize
+@item ES: mi
+@item I: mi
+@item F: mi
+@item D: E, e
+@item NL: e
+@item DK: e
+@item S: e
+@item FI: E, e
+@end itemize
+
+@seealso
+@ref{Pitch names}
+
+
+@node ecclesiastical mode
+@section ecclesiastical mode
+
+@seealso
+@ref{church mode}, @ref{diatonic scale}.
+
+
+@node eighth note
+@section eighth note
+
+@itemize
+@item UK: quaver
+@item ES: corchea
+@item I: croma
+@item F: croche
+@item D: Achtel, Achtelnote
+@item NL: achtste noot
+@item DK: ottendedelsnode
+@item S: åttondelsnot
+@item FI: kahdeksasosanuotti
+@end itemize
+
+@seealso
+@ref{note value}.
+
+
+@node eighth rest
+@section eighth rest
+
+@itemize
+@item UK: quaver rest
+@item ES: silencio de corchea
+@item I: pausa di croma
+@item F: demi-soupir
+@item D: Achtelpause
+@item NL: achtste rust
+@item DK: ottendedelspause
+@item S: åttonddelspaus
+@item FI: kahdeksasosatauko
+@end itemize
+
+@seealso
+@ref{note value}.
+
+
+@node elision
+@section elision
+
+@c TODO: add languages
+
+ES: sinalefa,
+I: ?,
+F: élision,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: tavujen yhdistäminen yhteen ääneen.
+
+More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
+@emph{συναλοιφην} @q{to smear together}].
+
+The singing of several syllables on a single note. Elision may be indicated
+by a lyric tie, which looks like (and serves the same function) as a musical
+tie.
+
+@seealso
+@ref{lyric tie}.
+
+
+@node embellishment
+@section embellishment
+
+@seealso
+@ref{ornament}.
+
+
+@node engraving
+@section engraving
+
+ES: grabado,
+I: incisione,
+F: gravure,
+D: Notenstich, Notendruck
+NL: steken,
+DK: nodestik,
+S: nottryck,
+FI: painatus.
+
+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.
+
+@seealso
+No cross-references.
+
+
+@node enharmonic
+@section enharmonic
+
+ES: enarmónico,
+I: enarmonico,
+F: enharmonique,
+D: enharmonisch,
+NL: enharmonisch,
+DK: enharmonisk,
+S: enharmonisk,
+FI: enharmoninen.
+
+Two notes, intervals, or scales are enharmonic if they have different
+names but equal pitch.
+
+@lilypond[quote,notime,line-width=13.0\cm]
+<<
+ \new Staff {
+ \relative c'' {
+ gis1 as <des g,!> <cis g!>
+ }
+ }
+ \lyrics {
+ "g sharp " "a flat " "dim fifth " "augm fourth"
+ }
+>>
+@end lilypond
+
+@seealso
+No cross-references.
+
+
+@node equal temperament
+@section equal temperament
+
+ES: temperamento igual,
+I: temperamento equabile,
+F: tempérament égal,
+D: gleichschwebende Stimmung,
+NL: ge@-lijk@-zwe@-ven@-de temperatuur,
+DK: ligesvævende temperatur,
+S: liksvävande temperatur,
+FI: tasavireinen.
+
+A tuning system that divides the octave into 12 equal semitones (each of
+which is precisely equal to 100 cents).
+
+@seealso
+@ref{cent}, @ref{semitone}, @ref{temperament}.
+
+
+@node expression mark
+@section expression mark
+
+ES: expresión,
+I: segno d'espressione,
+F: signe d'expression, indication de nuance,
+D: Vortragszeichen,
+NL: voordrachtsteken,
+DK: foredragsbetegnelse,
+S: föredragsbeteckning,
+FI: nyanssiosoitus, esitysmerkki.
+
+Performance indications concerning:
+
+@itemize
+
+@item volume, dynamics (for example, @notation{forte},
+@notation{crescendo}),
+
+@item tempo (for example, @notation{andante}, @notation{allegro}).
+
+@end itemize
+
+@seealso
+@ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
+
+
+@node extender line
+@section extender line
+
+ES: línea de extensión [de melisma, de bajo cifrado, etc.],
+I: ?,
+F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
+D: Fülllinie,
+NL: ?,
+DK: ?,
+S: ?,
+FI: pidennysviiva.
+
+The generic term (in LilyPond) for a line (or dash) of arbitrary length that
+extends text (without indicating the musical @emph{function} of that text).
+
+Used in many contexts, for example:
+
+@itemize
+
+@item In vocal music to indicate the syllable for a melisma. Called
+@q{extension} in the
+@uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
+Dictionary}.
+
+@item
+In figured bass to indicate that:
+
+@itemize
+
+@item The extended note should be held through a change in harmony, when applied
+to one figure --OR--
+@item The chord thus represented should be held above a moving bass line, when
+applied to more than one figure.
+@item These uses were not completely standardized, and some composers used a
+single extender line to indicate the latter case.
+
+@end itemize
+
+@item
+In string music to indicate that all notes in the passage thus indicated should
+be played on the same string. On the violin, for example, a series of notes to
+be played on the G string would be indicated @notation{sul G}, another series to be
+played on the D string would be indicated @notation{sul D}, and so on.
+
+@item
+With an octave mark to indicate that a passage is to be played higher or lower
+by the given number of octaves.
+
+@end itemize
+
+@seealso
+@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
+@ref{octave marking}.
+
+
+@node F
+@section F
+
+@itemize
+@item ES: fa
+@item I: fa
+@item F: fa
+@item D: F, f
+@item NL: f
+@item DK: f
+@item S: f
+@item FI: F, f
+@end itemize
+
+@seealso
+@ref{Pitch names}
+
+
+@node F clef
+@section F clef
+
+ES: clave de fa,
+I: chiave di fa,
+F: clef de fa,
+D: F-Schlüssel,
+NL: F-sleutel,
+DK: F-nøgle,
+S: f-klav,
+FI: F-avain.
+
+The position between the dots of the key symbol is the line of the F
+below central@w{ }C. Used on the third, fourth and fifth note line.
+A digit@w{ }8 above the clef symbol indicates that the notes must be
+played an octave higher (for example, bass recorder) while 8@w{ }below
+the clef symbol indicates playing an octave lower (for example, on the
+Double Bass).
+
+@lilypond[quote,notime,line-width=13.0\cm]
+<<
+ \relative c {
+ \override Staff.Clef #'full-size-change = ##t
+ \clef varbaritone
+ f1
+ \clef bass
+ f1
+ \clef subbass
+ f1
+ \clef "F^8"
+ f1
+ \clef "F_8"
+ f1
+ }
+ \lyrics {
+ "varbaritone "
+ "bass "
+ "sub-bass "
+ "octave up "
+ "octave down"
+ }
+>>
+@end lilypond
+
+@seealso
+@ref{baritone clef}, @ref{strings}.
+
+
+@node fall
+@section fall
+
+ES: ?,
+I: ?,
+F: chute,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: lasku.
+
+Indicator for a indeterminately falling pitch bend. Compare with
+@emph{glissando}, which has determinate starting and ending pitches.
+
+@seealso
+@ref{doit}, @ref{glissando}.
+
+
+@node feathered beam
+@section feathered beam
+
+ES: barra punteada,
+I: ?,
+F: ligature en soufflet, lien de croches en soufflet,
+D: gespreizter Balken,
+NL: ?,
+DK: ?,
+S: ?,
+FI: kiilapalkki.
+
+A type of beam used to indicate that a small group of notes should be
+played at an increasing or decreasing tempo -- depending on the
+direction of @q{feathering} -- but without changing the overall tempo
+of the piece.
+
+@seealso
+Internals Reference: @ruser{Manual beams}
+
+
+@node fermata
+@section fermata
+
+@c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
+
+ES: calderón,
+I: corona,
+F: point d'orgue, point d'arrêt,
+D: Fermate,
+NL: fermate,
+DK: fermat,
+S: fermat,
+FI: fermaatti, pidäke.
+
+Prolonged note or rest of indefinite duration.
+
+@lilypond[quote,relative=2]
+\time 4/4
+a4 b c2^\fermata
+\bar "|."
+@end lilypond
+
+@seealso
+No cross-references.
+
+
+@node fifth
+@section fifth
+
+ES: quinta,
+I: quinta,
+F: quinte,
+D: Quinte,
+NL: kwint,
+DK: kvint,
+S: kvint,
+FI: kvintti.
+
+@seealso
+@ref{interval}.
+
+
+@node figured bass
+@section figured bass
+
+ES: bajo cifrado,
+I: basso continuo, basso numerato,
+F: basse chiffrée, basse continue,
+D: Generalbass, bezifferter Bass,
+NL: basso continuo, becijferde bas
+DK: generalbas,
+S: generalbas,
+FI: kenraalibasso, numeroitu basso.
+
+Also called @q{thorough bass}.
+
+A method of indicating an accompaniment part by the bass notes only,
+together with figures designating the chief intervals and chords to be
+played above the bass notes.
+
+@lilypond[quote,line-width=13.0\cm]
+\new GrandStaff <<
+ \new Staff = "rh" \with {
+ fontSize = #-3
+ \override StaffSymbol #'staff-space = #(magstep -3)
+ } \relative c'' {
+ \clef treble
+ \key es \major
+ \time 4/4
+ <<
+ \context Voice = "rha" {
+ \voiceOne
+ es4 d c bes
+ bes4
+ }
+ \context Voice = "rhb" {
+ \voiceTwo
+ <bes g>8 as <as f> g <g es> f <d f> es
+ <g es>4
+ }
+ >>
+ }
+ \new Staff = "lh" \relative c' {
+ \clef bass
+ \key es \major
+ es8 c d bes c as bes16 as g f
+ es4
+ }
+ \figures {
+ s8 <6> s <4 2> s <6> s16 s <6> <4 2>
+ }
+>>
+@end lilypond
+
+@seealso
+@ref{chord}, @ref{interval}.
+
+
+@node fingering
+@section fingering
+
+ES: digitación,
+I: diteggiatura,
+F: doigté,
+D: Fingersatz,
+NL: vingerzetting,
+DK: fingersætning,
+S: fingersättning,
+FI: sormitus.
+
+Figures to the side or above the note that methodically indicate which
+fingers to use while playing a passage.
+
+@seealso
+No cross-references.
+
+
+@node flag
+@section flag
+
+ES: corchete,
+I: coda (uncinata), bandiera,
+F: crochet,
+D: Fahne, Fähnchen,
+NL: vlaggetje,
+DK: fane,
+S: flagga,
+FI: lippu, viiri.
+
+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 note value.
+
+@lilypond[quote,notime,relative=2]
+g8-"8th" s8
+g16-"16th" s8
+g32-"32nd" s8
+g64-"64th" s8
+@end lilypond
+
+@seealso
+@ref{note value}.
+
+
+@node flageolet
+@section flageolet
+
+ES: ?,
+I: ?,
+F: flageolet,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: flageolet-ääni.
+
+An articulation for string players that means the note or passage is to
+be played in harmonics.
+
+Also:
+
+@itemize
+
+@item A duct flute similar to the recorder.
+
+@item An organ stop of flute scale at 1' or 2' pitch.
+
+@end itemize
+
+@seealso
+@ref{articulation}, @ref{harmonics}.
+
+
+@node flat
+@section flat
+
+ES: bemol,
+I: bemolle,
+F: bémol,
+D: B,
+NL: mol,
+DK: b,
+S: beförtecken,
+FI: alennusmerkki.
+
+@seealso
+@ref{accidental}.
+
+
+@node forefall
+@section forefall
+
+@seealso
+@ref{appoggiatura}.
+
+
+@node forte
+@section forte
+
+ES: forte,
+I: forte,
+F: forte,
+D: forte, laut,
+NL: forte,
+DK: forte,
+S: forte,
+FI: forte, voimakkaasti.
+
+[Italian: @q{loud}]
+
+Abbreviated @notation{@b{f}}. Variants include:
+
+@itemize
+@item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
+@item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
+@end itemize
+
+@seealso
+No cross-references.
+
+
+@node fourth
+@section fourth
+
+ES: cuarta,
+I: quarta,
+F: quarte,
+D: Quarte,
+NL: kwart,
+DK: kvart,
+S: kvart,
+FI: kvartti.
+
+@seealso
+@ref{interval}.
+
+
+@node Frenched score
+@section Frenched score
+
+ES: partitura a la francesa,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: partituuri francesan tapaan.
+
+A @q{condensed} score, produced by omitting staves for instruments that are not
+playing at the moment, and by moving up additional systems from following pages
+to take up the space thus liberated, which reduces the total number of pages
+used to print the work.
+
+The specific rules for @q{frenching} a score differ from publisher to publisher.
+If you are producing scores for eventual publication by a commercial publisher,
+you may wish to procure a copy of their style manual.
+
+@seealso
+@ref{Frenched staff}.
+
+
+@node Frenched staff
+@section Frenched staff
+
+ES: pentagrama a la francesa,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: karsittu nuotinnus.
+
+[Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
+Frenched staff has unneeded measures or sections removed. This is useful
+for producing, for example, an @emph{ossia} staff.
+
+@seealso
+@ref{ossia}.
+
+
+@node Frenched staves
+@section Frenched staves
+
+Plural of @ref{Frenched staff}.
+
+
+@node fugue
+@section fugue
+
+ES: fuga,
+I: fuga,
+F: fugue,
+D: Fuge,
+NL: fuga,
+DK: fuga,
+S: fuga,
+FI: fuuga.
+
+@seealso
+@ref{counterpoint}.
+
+
+@node functional harmony
+@section functional harmony
+
+ES: armonía funcional,
+I: armonia funzionale,
+F: étude des functions,
+D: Funktionslehre,
+NL: functionele harmonie,
+DK: funktionsanalyse, funktionsharmonik,
+S: funktionslära,
+FI: harmoniajärjestelmä.
+
+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). Others are considered to be variants of the base
+chords.
+
+TODO: what does the @q{p} mean in Sp, Dp, Tp?
+
+@lilypond[quote,notime,relative=2,line-width=13.0\cm]
+<<
+ {
+ <g e c>1 <a f d> <b g e>
+ <c a f> <d b g> <e c a> <f d b>
+ }
+ \lyrics {
+ T Sp Dp S D Tp
+ \markup { D \translate #'(-2 . 0) | }
+ }
+>>
+@end lilypond
+
+@seealso
+No cross-references.
+
+
+@node G
+@section G
+
+@itemize
+@item ES: sol
+@item I: sol
+@item F: sol
+@item D: G, g
+@item NL: g
+@item DK: g
+@item S: g
+@item FI: G, g
+@end itemize
+
+@seealso
+@ref{Pitch names}
+
+
+@node G clef
+@section G clef
+
+ES: clave de sol,
+I: chiave di sol,
+F: clef de sol,
+D: G-Schlüssel, Violinschlüssel,
+NL: G-sleutel,
+DK: g-nøgle,
+S: g-klav,
+FI: G-avain.
+
+A clef symbol that indicates G above middle@w{ }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 (used most frequently to notate the tenor
+part in modern choral scores).
+
+@lilypond[quote,notime]
+\relative c'' {
+ \override Staff.Clef #'full-size-change = ##t
+ \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
+ \clef french
+ g1
+ \clef treble
+ g1
+ \clef "G^8"
+ g1
+ \clef "G_8"
+ g1
+}
+\addlyrics {
+ "french violin clef"
+ "violin clef"
+ "octave up"
+ "octave down"
+ }
+@end lilypond
+
+@seealso
+No cross-references.
+
+
+@node glissando
+@section glissando
+
+ES: glissando,
+I: glissando,
+F: glissando,
+D: Glissando,
+NL: glissando,
+DK: glissando,
+S: glissando,
+FI: glissando, liukuen.
+
+Letting the pitch slide fluently from one note to the other.
+
+@seealso
+No cross-references.
+
+
+@node grace notes
+@section grace notes
+
+ES: notas de adorno,
+I: abbellimenti,
+F: ornement, fioriture,
+D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
+NL: versieringen,
+DK: forsiringer,
+S: ornament,
+FI: korunuotit.
+
+Notes printed in small types to indicate that their time values are not
+counted in the rhythm of the bar.
+
+@seealso
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
+@ref{ornament}.
+
+
+@node grand staff
+@section grand staff
+
+ES: sistema de piano,
+I: accolatura,
+F: système [de portées], accolade,
+D: Akkolade, Klaviersystem,
+NL: piano systeem,
+DK: klaversystem,
+S: ackolad, böjd klammer,
+FI: kaksoisnuottiviivasto.
+
+A combination of two staves with a brace. Usually used for piano music.
+
+@seealso
+@ref{brace}.
+
+
+@node grave
+@section grave
+
+ES: grave,
+I: grave,
+F: grave, lent,
+D: Grave, Langsam,
+NL: grave, ernstig,
+DK: grave,
+S: grave,
+FI: grave, raskaasti.
+
+[Italian] Slow, solemn.
+
+@seealso
+No cross-references.
+
+
+@node gruppetto
+@section gruppetto
+
+@seealso
+@ref{turn}.
+
+
+@node H
+@section H
+
+@itemize
+@item ES: si
+@item I: si
+@item F: si
+@item D: H, h
+@item NL: b
+@item DK: h
+@item S: h
+@item FI: H, h
+@end itemize
+
+Letter name used for @notation{B natural} in German and Scandinavian
+usage. In the standard usage of these countries, @notation{B} means
+@notation{B flat}.
+
+@seealso
+@ref{Pitch names}, @ref{B}.
+
+
+@node hairpin
+@section hairpin
+
+Graphical version of the @notation{crescendo} and @notation{decrescendo}
+dynamic marks.
+
+@lilypond[quote,relative=2]
+c1\<
+c2\> c\<
+c1\!
+@end lilypond
+
+@seealso
+@ref{crescendo}, @ref{decrescendo}.
+
+
+@node half note
+@section half note
+
+@itemize
+@item UK: minim,
+@item ES: blanca,
+@item I: minima,
+@item F: blanche,
+@item D: Halbe, halbe Note,
+@item NL: halve noot,
+@item DK: halvnode,
+@item S: halvnot,
+@item FI: puolinuotti.
+@end itemize
+
+@seealso
+@ref{note value}.
+
+
+@node half rest
+@section half rest
+
+@itemize
+@item UK: minim rest,
+@item ES: silencio de blanca,
+@item I: pausa di minima,
+@item F: demi-pause,
+@item D: halbe Pause,
+@item NL: halve, rust,
+@item DK: halvnodespause,
+@item S: halvpaus,
+@item FI: puolitauko.
+@end itemize
+
+@seealso
+@ref{note value}.
+
+
+@node harmonic cadence
+@section harmonic cadence
+
+ES: cadencia (armónica),
+I: cadenza (armonica),
+F: cadence harmonique,
+D: Schlusskadenz,
+NL: harmonische cadens,
+DK: harmonisk kadence,
+S: (harmonisk) kadens,
+FI: harmoninen kadenssi.
+
+A sequence of chords that terminates a musical phrase or section.
+
+@lilypond[quote]
+\new PianoStaff <<
+ \context Staff = "SA" \relative c'' {
+ \clef treble
+ \time 4/4
+ \partial 4 <c g e>4 |
+ <c a f> <b g d> <c g e>2
+ }
+ <<
+ \context Staff = "SB" \relative c {
+ \clef bass
+ \partial 4 c4 | f, g c2
+ \bar "|."
+ }
+ \lyrics {
+ T4 S D T
+ }
+ >>
+>>
+@end lilypond
+
+
+@seealso
+@ref{functional harmony}.
+
+
+@node harmonics
+@section harmonics
+
+ES: sonidos del flautín,
+I: suoni flautati,
+F: flageolet, sons harmoniques,
+D: Flageolett-Töne,
+NL: ?,
+DK: ?,
+S: ?,
+FI: harmoniset äänet, huiluäänet.
+
+The general class of pitches produced by sounding the second or higher
+harmonic of a tone producer: string, column of air, and so on.
+
+On stringed instruments, these pitches sound rather flute-like; hence,
+their name in languages other than English. They are produced by
+lightly touching the string at a node for the desired mode of vibration
+while it is being bowed or plucked.
+
+For instruments of the violin family, there are two types of harmonics:
+natural harmonics, which are those played on the open string; and
+artificial harmonics, which are produced on stopped strings.
+
+@seealso
+No cross-references.
+
+
+@node harmony
+@section harmony
+
+ES: armonía,
+I: armonia,
+F: harmonie,
+D: Harmonie, Zusammenklang,
+NL: harmonie,
+DK: samklang,
+S: samklang,
+FI: harmonia, yhteissointi.
+
+Tones sounding simultaneously. Two note harmonies fall into the
+categories @emph{consonances} and @emph{dissonances}.
+
+Consonances:
+
+@lilypond[quote,notime,relative=2,line-width=13.0\cm]
+ <g g>1_"unison " s
+ <g b>_"third " s
+ <g c>_"fourth " s
+ <g d'>_"fifth " s
+ <g e'>_"sixth " s
+ <g g'>_"octave " s
+ <g b'>_"tenth" s s
+@end lilypond
+
+Dissonances:
+
+@lilypond[quote,notime,relative=2,line-width=13.0\cm]
+ <g a>1_"second " s s
+ <g f'>_"seventh " s s
+ <g a'>_"ninth" s s
+@end lilypond
+
+For harmony that uses three or more notes, see @ref{chord}.
+
+@seealso
+@ref{chord}.
+
+
+@node hemiola
+@section hemiola
+
+ES: hemiolia,
+I: ?,
+F: hémiole,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: 3/2 -suhde.
+
+[Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
+
+Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
+time normally occupied by two. The resulting rhythm can be expressed in modern
+terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
+bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
+as a special effect (or @emph{affect}) at cadences.
+
+For example, this phrase in 6/4 time
+
+@lilypond[quote,relative=1,line-width=13.0\cm]
+\key c \major
+\time 6/4
+c2. e | d2 c d | c1. \bar "||"
+@end lilypond
+
+may be thought of having alternating time signatures
+
+@lilypond[quote,relative=1,line-width=13.0\cm]
+\key c \major
+\time 6/4
+c2. e
+\time 3/2
+d2 c d
+\time 6/4
+c1. \bar "||"
+@end lilypond
+
+and is therefore a polymeter (second definition) of considerable antiquity.
+
+@seealso
+@ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
+
+
+@node homophony
+@section homophony
+
+ES: homofonía,
+I: omofonia,
+F: homophonie,
+D: Homophonie,
+NL: homofonie,
+DK: homofoni,
+S: homofoni,
+FI: homofonia, yksiäänisyys.
+
+Music in which one voice leads melodically supported by the other voices in
+the same rhythm (more or less). In contrast to @emph{polyphony}.
+
+@seealso
+@ref{polyphony}.
+
+
++@node hook
++@section hook
++
++@seealso
++@ref{flag}.
++
++
+@node hymn meter
+@section hymn meter
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: säkeiden tavumäärät.
+
+A group or list of numbers that indicate the number of syllables in a line
+of a hymn's verse. Different hymnals have different ways of noting the hymn
+meter: for example, consider a hymn that has four lines in two couplets
+alternating regularly between eight and seven syllables. The @emph{English
+Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
+or 8@w{ }7@w{ }8@w{ }7.
+
+Some frequently-used hymn meters have traditional names:
+
+@itemize
+@item 66.86 is called Short Meter (abbreviated SM or S.M.)
+@item 86.86 is called Common Meter (CM or C.M.)
+@item 88.88 is called Long Meter (LM or L.M.)
+@end itemize
+
+Some hymns and their tunes are doubled versions of a simpler meter: for
+easier reading, a hymn with a meter of 87.87.87.87 is usually written
+87.87D. The traditional names above also have doubled versions:
+
+@itemize
+@item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
+@item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
+@item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
+@end itemize
+
+@seealso
+No cross-references.
+
+
+@node interval
+@section interval
+
+ES: intervalo,
+I: intervallo,
+F: intervalle,
+D: Intervall,
+NL: interval,
+DK: interval,
+S: intervall,
+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.
+
+@lilypond[quote,notime,line-width=13.0\cm]
+<<
+\context Voice \relative c'' {
+% Prime or unison
+ < g g >1
+ < g gis >^"aug"
+% Second
+ < gis as >^"dim"
+ < g! as >^"min"
+ < g a! >^"maj"
+ < g ais >^"aug"
+% Third
+ < gis bes >^"dim"
+ < g! bes >^"min"
+ < g b! >^"maj"
+ < g bis >^"aug"
+% Fourth
+ < g ces >^"dim"
+ < g c! >^"per"
+ < g cis >^"aug"
+% Fifth
+ < g des' >^"dim"
+ < g d' >^"per"
+ < g dis >^"aug"
+% Sixth
+ < gis es' >^"dim"
+ < g! es' >^"min"
+ < g e'! >^"maj"
+ < g eis' >^"aug"
+% Seventh
+ < gis f'! >^"dim"
+ < g! f'! >^"min"
+ < g fis' >^"maj"
+ < g fisis' >^"aug"
+% Octave
+ < g ges' >^"dim"
+ < g g' >^"per"
+ < g gis' >^"aug"
+}
+\context Lyrics \lyrics {
+ "unison " "unison "
+ "second " "second " "second " "second "
+ "third " "third " "third " "third "
+ "fourth " "fourth " "fourth "
+ "fifth " "fifth " "fifth "
+ "sixth " "sixth " "sixth " "sixth "
+ "seventh" "seventh" "seventh" "seventh"
+ "octave " "octave " "octave "
+}
+>>
+@end lilypond
+
+@seealso
+@ref{enharmonic}, @ref{whole tone}.
+
+
+@node inversion
+@section inversion
+
+ES: ?,
+I: ?,
+F: renversement,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: käännös.
+
+When a chord sounds with a bass note that differs from the root of the
+chord, it is said to be @emph{inverted}. The number of inversions that a
+chord can have is one fewer than the number of constituent notes. For
+example, triads (which have three constituent notes) can have three
+positions, two of which are inversions:
+
+@table @dfn
+@item Root position
+The root note is in the bass, and above that are the third and the fifth. A
+triad built on the first scale degree, for example, is marked @notation{I}.
+
+@item First inversion
+The third is in the bass, and above it are the fifth and the root. This
+creates an interval of a sixth and a third above the bass note, and so is
+marked in figured Roman notation as @notation{6/3}. This is commonly
+abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
+characteristic interval of the inversion, and so always implies
+@notation{6/3}.
+
+@item Second inversion
+The fifth is in the bass, and above it are the root and the third. This
+creates an interval of a sixth and a fourth above the bass note, and so is
+marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
+unstable chord position.
+@end table
+
+@seealso
+No cross-references.
+
+
+@node inverted interval
+@section inverted interval
+
+ES: intervalo invertido,
+I: intervallo rivolto,
+F: intervalle renversé,
+D: umgekehrtes Intervall,
+NL: interval inversie,
+DK: omvendingsinterval,
+S: intervallets omvändning,
+FI: käänteisintervalli.
+
+The difference between an interval and an octave.
+
+@lilypond[quote,notime,relative=2,line-width=13.0\cm]
+<g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
+<g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
+<g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
+@end lilypond
+
+@seealso
+No cross-references.
+
+
+@node just intonation
+@section just intonation
+
+ES: entonación justa,
+I: intonazione giusta,
+F: intonation juste,
+D: reine Stimmung,
+NL: reine stemming,
+DK: ren stemning,
+S: ren stämning,
+FI: puhdas viritys.
+
+Tuning system in which the notes are obtained by adding and subtracting
+natural fifths and thirds.
+
+@seealso
+@ref{temperament}.
+
+
+@node key
+@section key
+
+ES: tonalidad,
+I: tonalità,
+F: tonalité,
+D: Tonart,
+NL: toonsoort,
+DK: toneart,
+S: tonart,
+FI: tonaliteetti.
+
+According to the 12@w{ }tones of the @emph{chromatic scale} there are
+12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
+
+@seealso
+@ref{chromatic scale}, @ref{key signature}.
+
+
+@node key signature
+@section key signature
+
+ES: armadura (de la clave),
+I: armatura di chiave,
+F: armure, armature [de la clé],
+D: Vorzeichen, Tonart,
+NL: toon@-soort (voortekens),
+DK: faste fortegn,
+S: tonartssignatur,
+FI: sävellajiosoitus.
+
+The sharps or flats appearing at the beginning of each staff indicating the
+key of the music.
+
+@seealso
+@ref{accidental}.
+
+
+@node laissez vibrer
+@section laissez vibrer
+
+ES: dejar vibrar,
+I: ?,
+F: laissez vibrer,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: antaa väristä.
+
+[French: @q{Let vibrate}] Most frequently associated with harp
+parts. Marked @notation{l.v.} in the score.
+
+@seealso
+No cross-references.
+
+
+@node largo
+@section largo
+
+ES: largo,
+I: largo,
+F: largo, large, ample,
+D: Largo, Langsam, Breit,
+NL: largo,
+DK: largo,
+S: largo,
+FI: largo, hitaasti, leveästi.
+
+[Italian: @q{wide}.] Very slow in tempo, usually combined with great
+expressiveness. @emph{Larghetto} is less slow than largo.
+
+
+@node leading note
+@section leading note
+
+ES: sensible,
+I: sensibile,
+F: (note) sensible,
+D: Leitton,
+NL: leidtoon,
+DK: ledetone,
+S: ledton,
+FI: johtosävel.
+
+The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
+called because of its strong tendency to @q{lead up} (resolve upwards)
+to the tonic scale degree.
+
+@seealso
+@ref{scale degree}, @ref{semitone}.
+
+
+@node ledger line
+@section ledger line
+
+ES: línea adicional,
+I: tagli addizionali,
+F: ligne supplémentaire,
+D: Hilfslinie,
+NL: hulplijntje,
+DK: hjælpelinie,
+S: hjälplinje,
+FI: apuviiva.
+
+A ledger line is an extension of the staff.
+
+@lilypond[quote,notime,relative=2]
+a,1
+s1
+c''1
+@end lilypond
+
+@seealso
+No cross-references.
+
+
+@node legato
+@section legato
+
+ES: legato,
+I: legato,
+F: legato, lié,
+D: legato, gebunden,
+NL: legato,
+DK: legato,
+S: legato,
+FI: legato, sitoen.
+
+To be performed (a) without any perceptible interruption between the
+notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
+@notation{portato}, or (d) @notation{staccato}.
+
+@lilypond[quote,notime,line-width=13.0\cm]
+<<
+ \context Staff \relative c'' {
+ c4-( d e-) \bar "||"
+ c4-- d-- e-- \bar "||"
+ c4-.-( d-. e-.-) \bar "||"
+ c4-. d-. e-. \bar "||"
+ }
+ \lyrics {
+ a2.
+ b
+ c
+ d
+ }
+>>
+@end lilypond
+
+@seealso
+@ref{staccato}.
+
+
+@node legato curve
+@section legato curve
+
+@seealso
+@ref{slur}, @ref{legato}.
+
+
+@node leger line
+@section leger line
+
+@seealso
+@ref{ledger line}.
+
+
+@node ligature
+@section ligature
+
+ES: ligadura,
+I: ?,
+F: ligature,
+DE: Ligatur,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ligatuura.
+
+A ligature is a coherent graphical symbol that represents at least two
+distinct notes. Ligatures originally appeared in the manuscripts of
+Gregorian chant notation around the 9th century to denote ascending or
+descending sequences of notes. In early notation, ligatures were used for
+monophonic tunes (Gregorian chant) and very soon denoted also the way of
+performance in the sense of articulation. With the invention of the metric
+system of the white mensural notation, the need for ligatures to denote such
+patterns disappeared.
+
+@seealso
+@ref{mensural notation}.
+
+
+@node lilypond
+@section lilypond
+
+UK: lily pond,
+ES: estanque de nenúfares,
+I: stagno del giglio,
+F: étang de nénuphars, étang de nymphéas,
+D: Seerosenteich,
+NL: le@-lie@-vij@-ver,
+DK: liliedam,
+S: liljedamm,
+FI: liljalampi.
+
+A pond with lilies floating in it.
+
+Also, the name of a music typesetting program.
+
+@seealso
+No cross-references.
+
+
+@node line
+@section line
+
+ES: línea,
+I: linea,
+F: ligne,
+D: Linie, Notenlinie,
+NL: lijn,
+DK: nodelinie,
+S: notlinje,
+FI: viiva, nuottiviiva.
+
+@seealso
+@ref{staff}.
+
+
+@node loco
+@section loco
+
+ES: en su lugar,
+I: loco,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: kirjoitetussa äänenkorkeudessa.
+
+[Italian: @q{place}] Instruction to play the following passage at the
+written pitch. Cancels octave mark (q.v.).
+
+@seealso
+@ref{octave mark}, @ref{octave marking}.
+
+
+@node long appoggiatura
+@section long appoggiatura
+
+ES: apoyatura larga,
+I: appoggiatura lunga,
+F: appoggiature longue,
+D: Vorhalt,
+NL: Lange voorslag,
+DK: langt forslag,
+S: långt förslag,
+FI: pitkä appoggiatura, pitkä etuhele.
+
+@seealso
+@ref{appoggiatura}.
+
+
+@node longa
+@section longa
+
+@itemize
+@item US: long, longa,
+@item ES: longa,
+@item I: longa,
+@item F: longa, longue,
+@item D: Longa,
+@item NL: longa,
+@item DK: longa,
+@item S: longa,
+@item FI: longa.
+@end itemize
+
+Note value: twice the length of a @notation{breve}.
+
+@lilypond[quote,notime,relative=2]
+\override NoteHead #'style = #'mensural
+g\longa g\breve
+@end lilypond
+
+@seealso
+@ref{breve}, @ref{note value}.
+
+
+@node lyric tie
+@section lyric tie
+
+ES: ligadura de letra,
+I: ?,
+F: ligature de mots,
+D: Textbindung,
+NL: ?,
+DK: ?,
+S: ?,
+FI: sidonta sanoituksessa.
+
+@c TODO: add languages
+
+@seealso
+@ref{elision}.
+
+
+@node lyrics
+@section lyrics
+
+ES: letra (de la canción),
+I: ?,
+F: paroles,
+D: Liedtext, Gesangtext,
+NL: liedtekst,
+DK: ?,
+S: ?,
+FI: sanoitus.
+
+@c Definition?
+
+@seealso
+No cross-references.
+
+
+@node major
+@section major
+
+ES: mayor,
+I: maggiore,
+F: [mode] majeur,
+D: Dur,
+NL: majeur,
+DK: dur,
+S: dur,
+FI: duuri.
+
+@seealso
+@ref{diatonic scale}.
+
+
+@node major interval
+@section major interval
+
+ES: intervalo mayor,
+I: intervallo maggiore,
+F: intervalle majeur,
+D: großes Intervall,
+NL: groot interval,
+DK: stort interval,
+S: stort intervall,
+FI: suuri intervalli.
+
+@seealso
+@ref{interval}.
+
+
+@node maxima
+@section maxima
+
+ES: ?,
+I: ?,
+F: maxima, maxime,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Note value: twice the length of a @notation{longa}.
+
+The maxima is the largest duration in use during the 15th and 16th centuries.
+Like the longa, the maxima can be either two or three times as long as the
+@notation{longa} (called @notation{binary} and @notation{ternary},
+respectively). By the late 15th century, most composers used the smaller
+proportion by default.
+
+@seealso
+@ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
+
+
+@node meantone temperament
+@section meantone temperament
+
+ES: afinación mesotónica,
+I: accordatura mesotonica,
+F: tempérament mésotonique,
+D: mitteltönige Stimmung,
+NL: middenstemming, middentoonstemming,
+DK: middeltonetemperatur,
+S: medeltonstemperatur,
+FI: keskisävelviritys.
+
+Temperament yielding acoustically pure thirds by decreasing the natural
+fifth by 16@w{ }cents. Due to the non-circular character of this
+temperament only a limited set of keys are playable. Used for tuning
+keyboard instruments for performance of pre-1650 music.
+
+@seealso
+@ref{cent}, @ref{temperament}.
+
+
+@node measure
+@section measure
+
+ES: compás,
+I: misura, battuta,
+F: mesure,
+D: Takt,
+NL: maat,
+DK: takt,
+S: takt,
+FI: tahti.
+
+A group of beats (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 separated from each other by bar lines.
+
+@seealso
+@ref{bar line}, @ref{beat}, @ref{meter}.
+
+
+@node measure repeat
+@section measure repeat
+
+@seealso
+@ref{percent repeat}.
+
+
+@node mediant
+@section mediant
+
+ES: mediante,
+I: mediante, modale,
+F: médiante,
+NL: mediant,
+D: Mediante,
+DK: mediant,
+S: mediant,
+FI: keskisävel.
+
+@itemize
+
+@item The third @b{scale degree}.
+
+@item A @emph{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).
+
+@end itemize
+
+@seealso
+@ref{chord}, @ref{functional harmony}, @ref{relative key}.
+
+
+@node melisma
+@section melisma
+
+ES: melisma,
+I: ?,
+F: mélisme, tenue,
+D: Melisma,
+NL: melisma,
+DK: ?,
+S: ?,
+FI: melisma, laulettavan tavun sävelkuvio.
+
+A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
+on one syllable, especially as applied to liturgical chant.
+
+@seealso
+No cross-references.
+
+
+@node melisma line
+@section melisma line
+
+@c TODO: add languages
+
+ES: línea de melisma,
+I: ?,
+F: trait de mélisme, trait de tenue,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: melismaviiva.
+
+@seealso
+@ref{extender line}.
+
+
+@node melodic cadence
+@section melodic cadence
+
+@seealso
+@ref{cadenza}.
+
+
+@node mensural notation
+@section mensural notation
+
+@c TODO: add languages
+
+ES: notación mensural,
+I: ?,
+F: notation mensurale,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: mensuraalinuotinnus.
+
+A system of duration notation whose principles were first established in the
+mid-13th century, and that (with various changes) remained in use until about
+1600. As such, it is the basis for the notation of rhythms in Western musical
+notation.
+
+Franco of Cologne (ca. 1250) is credited with the first systematic explanation
+of the notation's principles, so the notation of this earliest period is called
+@q{Franconian}. Franco's system made use of three note values -- long, breve,
+and semibreve -- each of which was normally equivalent to three of the next
+lower note value.
+
+Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
+added several note values (the minim, semiminim and fusa) and extended Franco's
+principles to govern the relationship between these values. They also put the
+duple division of note values on an equal footing with the earlier (preferred)
+triple division.
+
+TODO: continue description of French and Italian black notation, and the
+relationship betwixt them.
+
+@b{White or void mensural notation}
+
+In the 15th century, hollow (or void) notes began to substitute for the earlier
+solid black ones, which were then free to assume the function of red (or
+colored) notes in the earlier notation. ...
+
+TODO: add to definition (including summary info on proportional notation)
+
+@seealso
+@ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
+@c TODO: more cross-references?
+
+
+@node mensuration sign
+@section mensuration sign
+
+@c TODO: add languages
+
+ES: ?,
+I: ?,
+F: signe de mensuration,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The ancestor of the time signature, mensuration signs were used to indicate the
+relationship between two sets of note durations—specifically, the ratio of
+breves to semibreves (called @notation{tempus}), and of semibreves to minims
+(called @notation{prolatio}).
+
+Each ratio was represented with a single single sign, and was either
+three-to-one (ternary) or two-to-one (binary), as in modern music notation.
+Unlike modern music notation, the @emph{ternary} ratio was the preferred
+one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
+represented by a complete circle; applied to the @emph{prolatio}, it was called
+@emph{major} and was represented by a dot in the middle of the sign. The binary
+ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
+represented by an incomplete circle; applied to @emph{prolatio}, it was called
+@emph{minor} and was represented by the lack of an internal dot. There are four
+possible combinations, which can be represented in modern time signatures with
+and without reduction of note values. (These signs are hard-coded in LilyPond
+with reduction.)
+
+@table @dfn
+@item perfect @emph{tempus} with major @emph{prolatio}
+Indicated by a complete circle with an internal dot. In modern time signatures,
+this equals:
+@itemize
+@item 9/4, with reduction or
+@item 9/2, without reduction
+@end itemize
+
+@item perfect @emph{tempus} and minor @emph{prolatio}
+Indicated by a complete circle without an internal dot. In modern time
+signatures, this equals:
+@itemize
+@item 3/2, with reduction or
+@item 3/1, without reduction
+@end itemize
+
+@item imperfect @emph{tempus} and major @emph{prolatio}
+Indicated by an incomplete circle with an internal dot. In modern time
+signatures, this equals:
+@itemize
+@item 6/4, with reduction or
+@item 6/2, without reduction
+@end itemize
+
+@item imperfect @emph{tempus} and minor @emph{prolatio}
+Indicated by an incomplete circle without an internal dot. In modern time
+signatures, this equals:
+@itemize
+@item 4/4, with reduction or
+@item 2/1, without reduction
+@end itemize
+@end table
+
+The last mensuration sign @emph{looks} like common-time because it @emph{is},
+with note values reduced from the original semibreve to a modern quarter note.
+Being doubly imperfect, this sign represented the (theoretically)
+least-preferred mensuration, but it was actually used fairly often.
+
+This system extended to the ratio of longer note values to each other:
+
+@itemize
+
+ @item maxima to longa, called:
+
+ @itemize
+
+ @item @notation{modus maximorum},
+ @item @notation{modus major}, or
+ @item @notation{maximodus})
+
+ @end itemize
+
+ @item longa to breve, called:
+
+ @itemize
+
+ @item @notation{modus longarum},
+ @item @notation{modus minor}, or
+ @item @notation{modus}
+
+ @end itemize
+
+@end itemize
+
+In the absence of any other indication, these modes were assumed to be
+binary. The mensuration signs only indicated tempus and prolatio, so
+composers needed another way to indicate these longer ratios (called modes.
+Around the middle of the 15th century started to use groups of rests at the
+beginning of the staff, preceding the mensuration sign.
+
+
+Two mensuration signs have survived to the present day: the C-shaped sign,
+which originally designated @notation{tempus imperfectum} and
+@notation{prolatio minor} now stands for @notation{common time}; and the
+slashed C, which designated the same with @notation{diminution} now stands
+for @notation{cut-time} (essentially, it has not lost its original meaning).
+
+@seealso
+@ref{diminution}, @ref{proportion}, @ref{time signature}.
+@c TODO: more cross-references?
+
+
+@node meter
+@section meter
+
+ES: tiempo, compás,
+I: tempo, misura,
+F: indication de mesure, mesure,
+D: Taktart, Metrum,
+NL: maatsoort,
+DK: taktart,
+S: taktart,
+FI: aika-arvo.
+
+The pattern of note values and accents in a composition or a section thereof.
+There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
+by grouping beats and by subdividing the primary beat.
+
+@b{By grouping beats}:
+
+@itemize
+
+ @item @b{duple}: groups of two.
+ @item @b{triple}: groups of three.
+ @item @b{quadruple}: groups of four. A special case of duple meter.
+ @item @b{quintuple}: groups of five beats.
+ @item @b{sextuple} meter: groups of six. A special case of:
+
+ @itemize
+
+ @item duple meter, subdivided in three; or
+ @item triple meter, subdivided in two.
+
+ @end itemize
+
+ @item @b{septuple} meter: groups of seven.
+ @item and so on.
+
+@end itemize
+
+Other than triple meter and its subdivided variants (see below), meters that
+feature odd groupings of beats (e.g. quintuple or septuple meter) are not
+frequently used prior to the 20th Century.
+
+@b{By subdividing the primary beat}:
+
+@itemize
+
+ @item simple: subdivided in groups of two.
+
+ @itemize
+
+ @item duple: 2/2, 2/4, 2/8
+ @item triple: 3/2, 3/4, 3/8
+ @item quadruple: 4/2, 4/4 (also called common time), 4/8
+
+ @end itemize
+
+ @item compound: subdivided in groups of three.
+
+ @itemize
+
+ @item duple: 6/8
+ @item triple: 9/8
+ @item quadruple: 12/8
+
+ @end itemize
+
+@end itemize
+
+Time signatures are placed at the beginning of a composition (or section) to
+indicate the meter. For instance, a piece written in simple triple meter with a
+beat on each quarter note is conventionally written with a time signature of
+3/4. Here are some combinations of the two classifications above:
+
+Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
+
+@lilypond[quote,line-width=13.0\cm]
+\relative c'' {
+ \time 2/4
+ \key g \major
+ g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
+@end lilypond
+
+Simple triple meter:
+
+@lilypond[quote,line-width=13.0\cm]
+\relative c'' {
+ \time 3/4
+ \key c \minor
+ c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
+@end lilypond
+
+Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
+
+@lilypond[quote,line-width=13.0\cm]
+\relative c'' {
+ \time 4/4
+ \key g \major
+ g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
+@end lilypond
+
+Simple quintuple meter (B. Marcello, 1686-1739):
+
+@lilypond[quote,line-width=13.0\cm]
+\relative c'' {
+ \time 5/4
+ \key c \major
+ r4 cis8 bis ais4 dis c8 ais |
+ aes4 bes8 aes ges4 aes f8 es \bar "||"}
+@end lilypond
+
+(Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
+the source, with sharps in the accompaniment where the voice has flats and
+@emph{vice versa}.)
+
+Compound duple meter (unknown):
+
+@lilypond[quote,line-width=13.0\cm]
+\relative c' {
+ \time 6/8
+ \key f \major
+ f8 f g a bes16 a g f |
+ g8 g bes a c16 a bes g
+ \bar "||"}
+@end lilypond
+
+Compound triple meter (J.S. Bach, 1685-1750):
+
+@lilypond[quote,line-width=13.0\cm]
+\relative c' {
+ \time 9/8
+ \key g \major
+ r8 g'( a) b( d c) c( e d) |
+ d( g fis) g( d b) g( a b)
+ \bar "||"}
+@end lilypond
+
+Compound quadruple meter (P. Yon, 1886-1943):
+
+@lilypond[quote,line-width=13.0\cm]
+\relative c' {
+ \time 12/8
+ \key e \major
+ b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
+ e4 e8 fis( gis) a b4.~ b4 b8
+ \bar "||"}
+@end lilypond
+
+@b{@q{Monometer} vs Polymeter}
+
+TODO: add information from discussion on lilypond-user related to polymeter.
+
+@seealso
+@ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
+
+
+@node metronome
+@section metronome
+
+ES: metrónomo,
+I: metronomo,
+F: métronome,
+D: Metronom,
+NL: metronoom,
+DK: me@-tro@-nom,
+S: me@-tro@-nom,
+FI: metronomi.
+
+Device used to indicate the exact tempo of a piece.
+
+Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
+from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
+divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
+followed acknowledged Winkler as the creator, but by then Mälzel had already
+sold many of them, and people had taken to calling it a Mälzel Metronome.
+
+@seealso
+@ref{metronome mark}.
+
+
+@node metronome mark
+@section metronome mark
+
+ES: indicación metronómica,
+I: indicazione metronomica,
+F: indication métronomique,
+D: Metronomangabe,
+NL: metronoom aanduiding,
+DK: metronomtal,
+S: metronomangivelse,
+FI: metronomiosoitus.
+
+Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
+@notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
+@emph{anglice}).
+
+@seealso
+@ref{metronome}
+
+
+@node metronomic indication
+@section metronomic indication
+
+@seealso
+@ref{metronome mark}
+
+
+@node mezzo
+@section mezzo
+
+ES: ?,
+I: mezzo,
+F: mezzo,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: kohtalaisen, melko.
+
+[Italian: @q{medium}]
+
+Used to qualify other indications, such as:
+
+@itemize
+
+@item Dynamics
+ @itemize
+ @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
+ @notation{piano})
+ @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
+ @notation{forte})
+ @end itemize
+
+@item Voice
+ @itemize
+ @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
+ sopranos
+ @end itemize
+
+@end itemize
+
+@seealso
+No cross-references.
+
+
+@node mezzo-soprano
+@section mezzo-soprano
+
+ES: mezzosoprano,
+I: mezzo-soprano,
+F: mezzo-soprano,
+D: Mezzosopran,
+NL: mezzosopraan,
+DK: mezzosopran,
+S: mezzosopran,
+FI: mezzosopraano.
+
+The female voice between soprano and contralto.
+
+@seealso
+@ref{soprano}, @ref{contralto}.
+
+
+@node middle C
+@section middle C
+
+ES: do central,
+I: do centrale,
+F: do central, do 3
+D: eingestrichenes@w{ }c,
+NL: centrale@w{ }c,
+DK: enstreget@w{ }c,
+S: ettstruket@w{ }c,
+FI: keski-C.
+
+First C below the 440 Hz A.
+
+@lilypond[quote,notime,relative=1]
+\override Staff.Clef #'full-size-change = ##t
+ \clef bass c1 s
+ \clef alto c s
+ \clef treble c s
+@end lilypond
+
+@seealso
+No cross-references.
+
+
+@node minor
+@section minor
+
+ES: menor,
+I: minore,
+F: (mode) mineur,
+D: Moll,
+NL: mineur,
+DK: mol,
+S: moll,
+FI: molli.
+
+@seealso
+@ref{diatonic scale}.
+
+
+@node minor interval
+@section minor interval
+
+ES: intervalo menor,
+I: intervallo minore,
+F: intervalle mineur,
+D: kleines Intervall,
+NL: klein interval,
+DK: lille interval,
+S: litet intervall,
+FI: pieni intervalli.
+
+@seealso
+@ref{interval}.
+
+
+@node mixolydian mode
+@section mixolydian mode
+
+@seealso
+@ref{diatonic scale}.
+
+
+@node mode
+@section mode
+
+ES: modo,
+I: modo,
+F: mode,
+D: Kirchentonart, Modus,
+NL: modus,
+DK: skala,
+S: modus, skala,
+FI: moodi, kirkkosävelasteikko.
+
+@seealso
+@ref{church mode}, @ref{diatonic scale}.
+
+
+@node modulation
+@section modulation
+
+ES: modulación,
+I: modulazione,
+F: modulation,
+D: Modulation,
+NL: modulatie,
+DK: modulation,
+S: modulering,
+FI: modulaatio, sävellajin vaihdos.
+
+Moving from one @ref{key} to another. For example, the second subject
+of a @ref{sonata form} movement modulates to the dominant key if the
+key is major and to the @ref{relative key} if the key is minor.
+
+@seealso
+No cross-references.
+
+
+@node mordent
+@section mordent
+
+I: mordente,
+F: mordant,
+D: Mordent,
+NL: mordent,
+DK: mordent,
+S: mordent,
+FI: mordent, korukuvio.
+
+@seealso
+@ref{ornament}.
+
+
+@node motif
+@section motif
+
+@seealso
+@ref{motive}.
+
+
+@node motive
+@section motive
+
+ES: motivo,
+I: inciso,
+F: motif, incise,
+D: Motiv,
+NL: motief,
+DK: motiv,
+S: motiv,
+FI: teema, sävelaihe.
+
+The briefest intelligible and self-contained fragment of a musical
+theme or subject.
+
+@lilypond[quote,line-width=13.0\cm]
+\score{
+\relative c'' {
+ \set Score.implicitTimeSignatureVisibility = #all-invisible
+ \override Score.TimeSignature #'break-visibility = #all-invisible
+ \time 4/4
+ \key g \major
+ \partial 8 g16\startGroup fis |
+ g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
+ g8 g,16 a b8 cis d16 s
+}
+\layout {
+ \context {
+ \Staff \consists "Horizontal_bracket_engraver"
+}}
+}
+@end lilypond
+
+@seealso
+No cross-references.
+
+
+@node movement
+@section movement
+
+ES: movimiento,
+I: movimento,
+F: mouvement,
+D: Satz,
+NL: deel,
+DK: sats,
+S: sats,
+FI: osa.
+
+Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
+several -- more or less -- independent pieces called movements.
+
+@seealso
+No cross-references.
+
+
+@node multi-measure rest
+@section multi-measure rest
+
+ES: compases de espera,
+I: pausa multipla,
+F: pause multiple, mesure à compter,
+NL: meermaats rust,
+D: mehrtaktige Pause, Kirchenpause,
+DK: flertaktspause,
+S: flertaktspaus,
+FI: usean tahdin mittainen tauko.
+
+Multi-measure rests are conventionally typeset with a combination of
+longa, breve and whole rests for shorter and a long horizontal bar for
+longer spans of rest, with a number above to indicate the duration (in
+measures) of the rest. The former style is called @q{Kirchenpausen} in
+German, as a reminiscence of its use in Renaissance vocal polyphony.
+
+@lilypond[quote,relative=2]
+a1
+\set Score.skipBars = ##t
+R1*3
+a1
+\set Score.skipBars = ##t
+R1*122
+a1
+@end lilypond
+
+@seealso
+@ref{longa}, @ref{breve}.
+
+
+@node natural
+@section natural
+
+ES: becuadro,
+I: bequadro,
+F: bécarre,
+D: Auflösungszeichen,
+NL: herstellingsteken,
+DK: op@-løsningstegn,
+S: återställningstecken,
+FI: palautusmerkki.
+
+@seealso
+@ref{accidental}.
+
+
+@node neighbor tones
+@section neighbor tones
+
+@c TODO: add definition.
+
+ES: ?,
+I: ?,
+F: tons voisins,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@seealso
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
+@ref{ornament}.
+
+
+@node ninth
+@section ninth
+
+ES: novena,
+I: nona,
+F: neuvième,
+D: None,
+NL: noon,
+DK: none,
+S: nona,
+FI: nooni.
+
+@seealso
+@ref{interval}.
+
+
+@node non-legato
+@section non-legato
+
+@seealso
+@ref{legato}.
+
+
+@node note
+@section note
+
+ES: nota,
+I: nota,
+F: note,
+D: Note,
+NL: noot,
+DK: node,
+S: not,
+FI: nuotti.
+
+Notes are signs by means of which music is fixed in writing. The term is also
+used for the sound indicated by a note, and even for the key of the piano
+which produces the sound. However, a clear distinction between the terms tone
+and @ref{note} is strongly recommended. Briefly, one sees a note,
+and hears a tone.
+
+@seealso
+No cross-references.
+
+
+@node note head
+@section note head
+
+ES: cabeza,
+I: testa, testina, capocchia,
+F: tête de note,
+D: Notenkopf,
+NL: nootballetje,
+DK: nodehovede,
+S: nothuvud,
+FI: nuotin pää.
+
+A head-like sign which indicates pitch by its position on a @notation{staff}
+provided with a @notation{clef}, and duration by a variety of shapes such as
+hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
+For percussion instruments (often having no defined pitch) the note head may
+indicate the instrument.
+
+@seealso
+@ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
+
+
+@node note names
+@section note names
+
+@seealso
+@ref{Pitch names}
+
+
+@node note value
+@section note value
+
+ES: valor (duración),
+I: valore, durata,
+F: durée, valeur (d'une note),
+D: Notenwert,
+NL: nootwaarde,
+DK nodeværdi,
+S: notvärde,
+FI: nuotin aika-arvo.
+
+Note values (durations) are measured as fractions—in modern usage, one-half—of
+the next higher note value. The longest duration in current use is the
+@notation{breve} (equal to two whole notes), but sometimes (especially in music
+dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
+or @notation{maxima} (eight whole notes) may be found.
+
+As used in mensural notation, this fraction was more flexible: it could also
+be one-third the higher note value. Composers indicated which proportions
+to use with various signs—two of which survive to the present day: the
+C-shaped sign for @notation{common time}, and the slashed C for
+@notation{alla breve} or @notation{cut-time}.
+
+@c TODO -- add maxima to this example, in a way that doesn't break it.
+
+@lilypond[quote,notime,line-width=13.0\cm]
+\relative c'' {
+ \override NoteHead #'style = #'mensural
+ a\longa_"longa" a\breve_"breve"
+ \revert NoteHead #'style
+ a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
+ a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
+@end lilypond
+
+@c TODO -- add maxima rest to this example
+
+@lilypond[quote,notime,line-width=13.0\cm]
+\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 lilypond
+
+An augmentation dot after a note increases its duration by half; a second dot
+increases it by half of the first addition (that is, by a fourth of the original
+duration). More dots can be used to add further halved fractions of the
+original note value (1/8, 1/16, etc.), but they are not frequently encountered.
+
+@lilypond[quote,line-width=13.0\cm]
+\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 lilypond
+
+Alternatively note values may be subdivided by other ratios. Most common is
+subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
+Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
+dotted notes are also frequently used.
+
+@lilypond[quote,line-width=13.0\cm]
+\relative c'' {
+ \time 4/4
+ \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
+ \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
+}
+@end lilypond
+
+@lilypond[quote,line-width=13.0\cm]
+\relative c'' {
+ \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 lilypond
+
+@seealso
+@ref{common time}.
+
+
+@node octavation
+@section octavation
+
+@seealso
+@ref{octave marking}.
+
+
+@node octave
+@section octave
+
+ES: octava,
+I: ottava,
+F: octave,
+D: Oktave,
+NL: octaaf,
+DK: oktav,
+S: oktav,
+FI: oktaavi.
+
+The interval of an octave, sometimes abbreviated @notation{8ve}.
+
+For uses like @notation{all'ottava} or @notation{8va} with an extender line or
+bracket, or @notation{loco} see octave marking.
+
+@seealso
+@ref{interval}, @ref{octave marking}.
+
+
+@node octave mark
+@section octave mark
+
+ES: indicación de octava,
+I: ?,
+F: indication d'octave,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: oktaavamerkki.
+
+The phrase, abbreviation, or other mark used (with or without an extender line
+or bracket) to indicate that the music is to be played in a different octave:
+
+@itemize
+
+@item @notation{15ma}: play two octaves higher
+@item @notation{8va}: play one octave higher
+@item @notation{8vb}: play one octave lower
+@item @notation{8va} (written below the passage): unusual, same as
+@notation{8vb}
+@item @notation{15vb}: play two octaves lower
+@item @notation{15va} (written below the passage): unusual, same as
+@notation{15vb}
+
+@end itemize
+
+For longer passages, it may be more practical to mark the octave change at the
+beginning with a phrase (see the list below for examples), but without a bracket
+or extender line. Then, when the music returns to the written pitch, the octave
+change is cancelled with the word @notation{loco} (q.v.).
+
+To parallel the list above:
+
+@itemize
+
+@item @notation{15ma}: @notation{alla quindicesima (alta)}
+@item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
+@item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
+@item @notation{15vb}: @notation{alla quindicesima (bassa)}
+
+@end itemize
+
+In the phrases above, @notation{quindicesima} is sometimes replaced with
+@notation{quindecima}, which is Latin.
+
+The music on an entire staff can be marked to be played in a different octave by
+putting a small 8 or 15 above or below the clef at the beginning. This octave
+mark can be applied to any clef, but it is most frequently used with the G and F
+clefs.
+
+@seealso
+@ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
+
+
+@node octave marking
+@section octave marking
+
+ES: a la octava,
+I: all'ottava,
+F: octaviation,
+D: Oktavierung,
+NL: octaveren,
+DK: oktavering,
+S: oktavering,
+FI: oktaavamerkintä.
+
+The practice of marking music -- an entire staff, a passage, etc. -- to indicate
+that it is to be played in a different octave. If applied to the clef at the
+beginning of the staff, all music on that staff is to played at the indicated
+octave.
+
+For a list of the specific marks used, see @ref{octave mark}.
+
+@seealso
+@ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
+
+
+@node octave sign
+@section octave sign
+
+@seealso
+@ref{octave mark}.
+
+
+@node ornament
+@section ornament
+
+ES: adorno,
+I: abbellimento, fioriture,
+F: agrément, ornement,
+D: Verzierung, Ornament,
+NL: versiering,
+DK: forsiring,
+S: ornament,
+FI: koru, hele.
+
+Most commonly used is the @emph{trill}, the rapid alternation of a given note
+with the diatonic @ref{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.
+
+@lilypond[quote,line-width=13.0\cm]
+<<
+ \context Staff = sa {
+ \relative c'' {
+ c2._"pre-1850" b4\trill | c1 \bar "||"
+ c2._"post-1850" b4\trill | c1 \bar "||"
+ }
+ }
+ \relative c'' {
+ c2. c32 b c b c b c b | c1
+ c2. b32 c b c \times 4/5 { b c b c b } | c1
+ }
+>>
+@end lilypond
+
+Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
+the
+@emph{prall} (inverted mordent).
+
+@lilypond[quote,line-width=13.0\cm]
+<<
+ \context Staff = sa {
+ \relative c'' {
+ a4_"turn" b\turn c2 \bar "||"
+ g4_"mordent" a b\mordent a \bar "||"
+ e'4_"prall" d\prall c2 \bar "||"
+ }
+ }
+ \relative c'' {
+ a4 c16[ b a b] c2
+ g4 a b16-[ a b8] a4
+ e'4 e32[ d e d ~ d8] c2
+ }
+>>
+@end lilypond
+
+@seealso
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
+
+
+@node ossia
+@section ossia
+
+ES: ossia,
+I: ossia,
+F: ossia, alternative,
+D: Ossia,
+NL: alternatief,
+DK: ossia,
+S: ossia,
+FI: ossia, vaihtoehtoinen esitystapa.
+
+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.
+
+@seealso
+No cross-references.
+
+
+@node part
+@section part
+
+ES: parte,
+I: voce, parte,
+F: partie,
+D: Stimme,
+NL: partij,
+DK: stemme,
+S: stämma,
+FI: stemma, instrumenttiosuus.
+
+@itemize
+
+@item In instrumental or choral music, the music for a single
+instrument or voice.
+
+@item in contrapuntal music, a single melodic line in the contrapuntal
+web.
+
+@end itemize
+
+@seealso
+@ref{counterpoint}
+
+
+@node pause
+@section pause
+
+@seealso
+@ref{fermata}.
+
+
+@node pennant
+@section pennant
+
+@seealso
+@ref{flag}.
+
+
+@node percent repeat
+@section percent repeat
+
+LilyPond-specific term to indicate the repetition of a musical expression on a
+single staff, as opposed to the more usual definition of repeat, which affects
+all parts. The musical expression can be anything from a single note or note
+pattern to one or more measures. There are other names for this symbol:
+
+@itemize
+
+@item simile mark
+@item slash mark, or slash repeat
+@item beat repeat
+@item measure (or multi-measure) repeat
+
+@end itemize
+
+@lilypond[quote,relative=2,line-width=13.0\cm]
+\time 4/4
+ \repeat percent 4 { c4_"Beat (or slash) repeat" }
+ \repeat percent 2 { c4 e g b_"Measure repeat" }
+ \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
+@end lilypond
+
+@seealso
+@ref{repeat},
+@uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
+Vermont Music Dictionary}.
+
+
+@node percussion
+@section percussion
+
+ES: percusión,
+I: percussioni,
+F: percussion,
+D: Schlagzeug, Schlagwerk,
+NL: slagwerk,
+DK: slagtøj,
+S: slagverk,
+FI: lyömäsoittimet.
+
+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.
+
+@seealso
+No cross-references.
+
+
+@node perfect interval
+@section perfect interval
+
+ES: intervalo justo,
+I: intervallo giusto,
+F: intervalle juste,
+D: reines Intervall,
+NL: rein interval,
+DK: rent interval,
+S: rent intervall,
+FI: puhdas intervalli.
+
+@seealso
+@ref{interval}.
+
+
+@node phrase
+@section phrase
+
+ES: frase,
+I: frase,
+F: phrase,
+D: Phrase,
+NL: frase, zin,
+DK: frase,
+S: fras,
+FI: fraasi, lause.
+
+A natural division of the melodic line, comparable to a sentence of speech.
+
+@seealso
+@ref{caesura}.
+
+
+@node phrasing
+@section phrasing
+
+ES: fraseo,
+I: fraseggio,
+F: phrasé,
+D: Phrasierung,
+NL: frasering,
+DK: frasering,
+S: fra@-se@-ring,
+FI: fraseeraus, jäsentäminen.
+
+The clear rendering in musical performance of the @notation{phrases} of the
+melody. Phrasing may be indicated by a @notation{slur}.
+
+@seealso
+@ref{phrase}, @ref{slur}.
+
+
+@node piano
+@section piano
+
+ES: piano,
+I: piano,
+F: piano,
+D: piano, leise,
+NL: piano,
+DK: piano,
+S: piano,
+FI, piano, hiljaa.
+
+@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
+@emph{mezzo piano} (@b{mp}) medium soft.
+
+@seealso
+No cross-references.
+
+
+@node pickup
+@section pickup
+
+ES: anacrusa,
+I: anacrusi,
+F: anacrouse, levée,
+D: Auftakt,
+NL: opmaat,
+DK: optakt,
+S: upptakt,
+FI: kohotahti.
+
+@seealso
+@ref{anacrusis}.
+
+
+@node pitch
+@section pitch
+
+ES: altura,
+I: altezza,
+F: hauteur,
+D: Tonhöhe,
+NL: toonhoogte,
+DK: tonehøjde,
+S: tonhöjd,
+FI: sävelkorkeus.
+
+@enumerate
+
+@item The perceived quality of a sound that is primarily a function of its
+fundamental frequency.
+
+@item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
+
+@item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
+association of a particular frequency with a particular pitch name, e.g., c' =
+256 Hz.
+
+@end enumerate
+
+@seealso
+@ref{Pitch names}.
+
+
+@node pizzicato
+@section pizzicato
+
+ES: pizzicato,
+I: pizzicato,
+F: pizzicato,
+D: pizzicato,
+NL: pizzicato, getokkeld,
+DK: pizzicato,
+S: pizzicato,
+FI: pizzicato, näppäillen.
+
+A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
+the strings.
+
+@seealso
+No cross-references.
+
+
+@node polymeter
+@section polymeter
+
+ES: compás polimétrico,
+I: ?,
+F: polymétrie,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: monia tahtiosoituksia sisältävä.
+
+@itemize
+
+@item The @emph{simultaneous} use of two or more meters, in two or more
+parts.
+
+@item The @emph{successive} use of different meters in one or more parts.
+
+@end itemize
+
+@seealso
+@ref{polymetric} (adj.)
+
+
+@node polymetric
+@section polymetric
+
+ES: polimétrico,
+I: ?,
+F: polymétrique,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
+
+Characterized by @emph{polymeter}: using two or more metric frameworks
+simultaneously or in alternation.
+
+@seealso
+@ref{polymeter} (noun)
+
+
+@node polymetric time signature
+@section polymetric time signature
+
+ES: compás polimétrico,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: vaihtelevan tahtiosoitusmerkintä.
+
+A time signature that indicates regularly alternating polymetric time.
+
+@seealso
+@ref{polymetric}.
+
+
+@node polyphony
+@section polyphony
+
+ES: polifonía,
+I: polifonia,
+F: polyphonie,
+D: Polyphonie, Mehrstimmigkeit,
+NL: polyfonie,
+DK: polyfoni,
+S: polyfoni,
+FI: polyfonia, moniäänisyys.
+
+Music written in a combination of several simultaneous voices (parts)
+of a more or less pronounced individuality.
+
+@seealso
+@ref{counterpoint}.
+
+
+@node portato
+@section portato
+
+[Italian: past participle of @emph{portare}, @q{to carry}]
+
+A stroke in which each of several notes is separated slightly within a slur,
+without changing the bow's direction. It is used for passages of a
+@notation{cantabile} character.
+
+@seealso
+@ref{legato}.
+
+
+@node presto
+@section presto
+
+ES: presto,
+I: presto,
+F: presto, très rapide, enlevé,
+D: Presto, Sehr schnell,
+NL: presto, Sehr schnell,
+DK: presto,
+S: presto,
+FI: presto, hyvin nopeasti.
+
+[Italian]
+
+Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
+denotes the highest possible degree of speed.
+
+@seealso
+No cross-references.
+
+
+@node proportion
+@section proportion
+
+ES: proporción,
+I: proprozione (?),
+F: proportion,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: suhde.
+
+[Latin: @emph{proportio}] Described in great detail by Gaffurius, in
+@emph{Practica musicae} (published in Milan in 1496). In mensural notation,
+proportion is:
+
+@enumerate
+
+@item A ratio that expresses the relationship between the note values that
+follow with those that precede;
+
+@item A ratio between the note values of a passage and the @q{normal}
+relationship of note values to the metrical pulse. (A special case of the
+first definition.)
+
+@end enumerate
+
+The most common proportions are:
+
+@itemize
+@item 2:1 (or simply 2), expressed by a vertical line through the
+mensuration sign (the origin of the @notation{alla breve} time signature),
+or by turning the sign backwards
+@item 3:1 (or simply 3)
+@item 3:2 (@emph{sesquialtera})
+@end itemize
+
+To @q{cancel} any of these, the inverse proportion is applied. Thus:
+
+@itemize
+@item 1:2 cancels 2:1
+@item 1:3 cancels 3:1
+@item 2:3 cancels 3:2
+@item and so on.
+@end itemize
+
+Gaffurius enumerates five basic types of major:minor proportions and their
+inverses:
+
+@enumerate
+@item Multiplex, if the major number is an exact multiple of the minor (2:1,
+3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
+
+@item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
+if the major number is one more than the minor (3:2, 4:3, 5:4); and its
+inverse, Subsuperparticular (2:3, 3:4, 4:5)
+
+@item Superpartiens, if the major number is one less than twice the minor
+(5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
+
+@item Multiplexsuperparticular, if the major number is one more than twice the
+minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
+4:9)
+
+@item Multiplexsuperpartiens, if the major number is one less than some other
+multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
+inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
+
+@end enumerate
+
+He then continues to subdivide each type in various ways. For the multiplex
+proportions, for example, he indicates how many times greater the major number
+is than the minor:
+
+@itemize
+
+@item If two times greater, the proportion is @emph{dupla}. If inverted, it's
+called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
+
+@item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
+3:1, 6:2, and 9:3.
+
+@item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
+Example: 4:1, 8:2, and 12:3
+
+@end itemize
+
+Other proportions were possible, but whether they were frequently used is
+another question:
+
+@itemize
+
+@item 33:9, @emph{triplasuperbipartientetertias}
+@item 51:15, @emph{triplasuperbipartientequintas}
+
+@end itemize
+
+@c TODO: add an example or two. O => 4/3, and its modern equivalent
+
+@seealso
+@ref{mensural notation}.
+
+
+@node Pythagorean comma
+@section Pythagorean comma
+
+ES: coma pitagórica,
+I: comma pitagorico,
+F: comma pythagoricien,
+D: Pythagoräisches Komma,
+NL: komma van Pythagoras,
+DK: pythagoræisk komma,
+S: pytagoreiskt komma,
+FI: pytagorinen komma.
+
+Originally, the interval by which the sum of six whole tones exceeds the octave
+-- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
+
+Modern acoustical theory defines it as the interval by which twelve fifths
+exceed seven octaves. To put it another way: A sequence of fifths that starts
+on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
+than the C obtained by adding 7 octaves. The difference between those two
+pitches is the Pythagorean comma.
+
+@seealso
+@ref{cent}, @ref{temperament}.
+
+
+@node quadruplet
+@section quadruplet
+
+ES: cuatrillo,
+I: quartina,
+F: quartolet,
+D: Quartole,
+NL: kwartool,
+DK: kvartol,
+S: kvartol,
+FI: kvartoli.
+
+@seealso
+@ref{note value}.
+
+
+@node quality
+@section quality
+
+ES: ?,
+I: qualità (?),
+F: qualité (?),
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: laatu.
+
+The quality of a triad is determined by the precise arrangement of its
+intervals. Tertian triads can be described as a series of three notes. The
+first element is the root note (or simply @q{root}) of the chord, the second
+note is the @q{third} of the chord, and the last note is the @q{fifth} of
+the chord. These are described below:
+
+@multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
+@headitem Chord name
+ @tab Component intervals
+ @tab Example
+ @tab Symbol
+@item major triad @tab major third/perfect fifth
+ @tab C-E-G
+ @tab C, CM, Cma, Cmaj, CΔ
+@item minor triad @tab minor third/perfect fifth
+ @tab C-E♭-G
+ @tab Cm, Cmi, Cmin, C-
+@item augmented triad @tab major third/augmented fifth
+ @tab C-E-G♯
+ @tab C+, C^+, Caug
+@item diminished triad @tab minor third/diminished fifth
+ @tab C-E♭-G♭
+ @tab Cm(♭5), Cº, Cdim
+@end multitable
+
+There are various types of seventh chords depending on the quality of the
+original chord and the quality of the seventh added.
+
+Five common types of seventh chords have standard symbols. The chord quality
+indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
+and D^m7 are all identical). The last three chords are not commonly used
+except in jazz.
+
+@seealso
+@ref{chord}.
+
+
+@node quarter note
+@section quarter note
+
+@itemize
+@item UK: crotchet
+@item ES: negra
+@item I: semiminima, nera
+@item F: noire
+@item D: Viertel, Viertelnote
+@item NL: kwartnoot
+@item DK: fjerdedelsnode
+@item S: fjärdedelsnot
+@item FI: neljäsosanuotti
+@end itemize
+
+@seealso
+@ref{note value}.
+
+
+@node quarter rest
+@section quarter rest
+
+@itemize
+@item UK: crotchet rest
+@item ES: silencio de negra
+@item I: pausa di semiminima
+@item F: soupir
+@item D: Viertelpause
+@item NL: kwartrust
+@item DK: fjerdedelspause
+@item S: fjärdedelspaus
+@item FI: neljäsosatauko
+@end itemize
+
+@seealso
+@ref{note value}.
+
+
+@node quarter tone
+@section quarter tone
+
+ES: cuarto de tonno,
+I: ?,
+F: quart de ton,
+D: Viertelton,
+NL: kwart toon,
+DK: ?,
+S: kvartston,
+FI: neljännessävelaskel.
+
+An interval equal to half a semitone.
+
+@seealso
+@ref{interval}
+
+
+@node quintuplet
+@section quintuplet
+
+ES: cinquillo, quintillo.
+I: quintina,
+F: quintolet,
+D: Quintole,
+NL: kwintool,
+DK: kvintol,
+S: kvintol,
+FI: kvintoli.
+
+@seealso
+@ref{note value}.
+
+
+@node rallentando
+@section rallentando
+
+ES: rallentando,
+I: rallentando,
+F: rallentando, en ralentissant,
+D: rallentando, langsamer werden,
+NL: rallentando,
+DK: rallentando,
+S: rallentando,
+FI: rallerdando, hidastuen.
+
+[Italian] A performance indication, abbreviated "rall.".
+
+@seealso
+@ref{ritardando}.
+
+
+@node relative key
+@section relative key
+
+ES: tono relativo,
+I: tonalità relativa,
+F: tonalité relative,
+D: Paralleltonart,
+NL: paralleltoonsoort,
+DK: paralleltoneart,
+S: parallelltonart,
+FI: rinnakkaissävellaji.
+
+Major and minor keys that have the same key signature.
+
+@lilypond[quote,notime,relative=1,line-width=13.0\cm]
+\key es \major
+es1_"e flat major" f g as bes c d es
+\bar "||"
+@end lilypond
+
+@lilypond[quote,notime,relative=1,line-width=13.0\cm]
+\key c \minor
+c1_"c minor" d es f g a! b! c
+\bar "||"
+@end lilypond
+
+@seealso
+@ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
+
+
+@node repeat
+@section repeat
+
+ES: repetición,
+I: ritornello,
+F: barre de reprise,
+D: Wiederholung,
+NL: herhaling,
+DK: gen@-ta@-gel@-se,
+S: repris,
+FI: toisto.
+
+@lilypond[quote,relative=2,line-width=13.0\cm]
+\key g \major
+\time 4/4
+\repeat volta 2 {
+ g4 g d' d
+ e4 e d2
+ c4 c b b
+ a a g2
+}
+@end lilypond
+
+@seealso
+No cross-references.
+
+
+@node rest
+@section rest
+
+ES: silencio,
+I: pausa,
+F: silence,
+D: Pause,
+NL: rust,
+DK: pause,
+S: paus,
+FI: tauko.
+
+@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
+@c specify the rest's value.
+
+@seealso
+@ref{note value}.
+
+
+@node rhythm
+@section rhythm
+
+ES: ritmo,
+I: ritmo,
+F: rythme,
+D: Rhythmus,
+NL: ritme,
+DK: rytme,
+S: rytm,
+FI: rytmi.
+
+@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}.
+
+@item Measured rhythm which lacks regularly recurrent accent. In
+modern notation such music appears as a free alternation of different
+measures.
+
+@item Free rhythm, i.e., the use of temporal values having no common
+metrical unit (beat).
+
+@end itemize
+
+@seealso
+No cross-references.
+
+
+@node ritardando
+@section ritardando
+
+ES: ritardando,
+I: ritardando,
+F: ritardando, en ralentissant,
+D: ritardando, langsamer werden,
+NL: ritardando,
+DK: ritardando,
+S: ritardando,
+FI: ritardando, hidastuen,
+
+Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
+
+@seealso
+No cross-references.
+
+
+@node ritenuto
+@section ritenuto
+
+ES: ritenuto,
+I: ritenuto,
+F: ritenuto, en retenant,
+D: ritenuto,
+NL: ritenuto,
+DK: ritenuto,
+S: ritenuto,
+FI: ritenuto, hidastaen.
+
+Immediate reduction of speed.
+
+@seealso
+No cross-references.
+
+
+@node scale
+@section scale
+
+ES: escala,
+I: scala,
+F: gamme,
+D: Tonleiter,
+NL: toonladder,
+DK: Skala,
+S: skala,
+FI: asteikko, sävelasteikko.
+
+@seealso
+@ref{diatonic scale}.
+
+
+@node scale degree
+@section scale degree
+
+ES: grado (de la escala),
+I: grado della scala,
+F: degré [de la gamme],
+D: Tonleiterstufe,
+NL: trap [van de toonladder],
+DK: skalatrin,
+S: skalsteg (?),
+FI: sävelaste, asteikon sävel.
+
+Names and symbols used in harmonic analysis to denote tones of the
+scale as roots of chords. The most important are degrees I = tonic
+(T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
+
+@lilypond[quote,notime,line-width=13.0\cm]
+<<
+\new Staff \relative c' {
+ c1 d e f g a b c
+}
+ \lyrics {
+ << { I II III IV V VI VII I }
+ { T "" "" S D } >>
+}
+>>
+@end lilypond
+
+@seealso
+@ref{functional harmony}.
+
+
+@node scordatura
+@section scordatura
+
+ES: encordado,
+I: scordatura,
+F: à cordes ravallées,
+D: Skordatur,
+NL: ?,
+DK: ?,
+S: ?,
+FI: epätavallinen viritys.
+
+[Italian: @emph{scordare}, @q{to mistune}] Unconventional
+tuning of stringed instruments, particularly lutes or violins. Used
+to:
+
+@itemize
+
+@item facilitate pitch combinations that would otherwise be difficult
+or impossible
+
+@item alter the characteristic timbre of the instrument, for example,
+to increase brilliance
+
+@item reinforce certain sonorities or tonalities by making them
+available on open strings
+
+@item imitate other instruments
+
+@item etc.
+
+@end itemize
+
+Tunings that could be called @var{scordatura} first appeared early in
+the 16th Century and became commonplace in the 17th.
+
+@seealso
+No cross-references.
+
+
+@node score
+@section score
+
+ES: partitura,
+I: partitura,
+F: partition, conducteur (full score),
+D: Partitur (full score), Klavierauszug (vocal score),
+NL: partituur,
+DK: partitur,
+S: partitur,
+FI: partituuri.
+
+A copy of orchestral, choral, or chamber music showing what each
+instrument is to play, each voice to sing, having each part arranged
+one underneath the other on different staves @ref{staff}.
+
+@seealso
+No cross-references.
+
+
+@node second
+@section second
+
+ES: segunda,
+I: secunda,
+F: seconde,
+D: Sekunde,
+NL: secunde,
+DK: sekund,
+S: sekund,
+FI: sekunti.
+
+The interval between two neighboring tones of a scale. A diatonic scale
+consists of alternating semitones and whole tones, hence the size of a
+second depends on the scale degrees in question.
+
+@seealso
+@ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
+
+
+@node semibreve
+@section semibreve
+
+@itemize
+@item US: whole note,
+@item ES: redonda,
+@item I: semibreve,
+@item F: ronde,
+@item D: Ganze, ganze Note,
+@item NL: hele noot,
+@item DK: helnode,
+@item S: helnot,
+@item FI: kokonuotti.
+@end itemize
+
+Note value: called @notation{whole note} in the US.
+
+The semibreve is the basis for the @notation{tactus} in mensural notation
+(i.e. music written before ca. 1600).
+
+@seealso
+@ref{mensural notation}, @ref{note value}.
+
+
+@node semitone
+@section semitone
+
+ES: semitono,
+I: semitono,
+F: demi-ton,
+D: Halbton,
+NL: halve toon,
+DK: halvtone,
+S: halvton,
+FI: puolisävel.
+
+The interval of a minor second. The (usually) smallest interval in European
+composed music. The interval between two neighboring tones on the piano
+keyboard -- including black and white keys -- is a semitone. An octave may
+be divided into 12@w{ }semitones.
+
+@lilypond[quote,notime,relative=2,line-width=13.0\cm]
+g1 gis s a bes s b! c
+@end lilypond
+
+@seealso
+@ref{interval}, @ref{chromatic scale}.
+
+
+@node seventh
+@section seventh
+
+ES: séptima,
+I: settima,
+F: septième,
+D: Septime,
+NL: septiem,
+DK: septim,
+S: septim,
+FI: septimi.
+
+@seealso
+@ref{interval}.
+
+
+@node sextolet
+@section sextolet
+
+@seealso
+@ref{sextuplet}, @ref{note value}.
+
+
+@node sextuplet
+@section sextuplet
+
+ES: seisillo,
+I: sestina,
+F: sextolet,
+D: Sextole,
+NL: sextool,
+DK: sekstol,
+S: sextol,
+FI: sekstoli.
+
+@seealso
+@ref{note value}.
+
+
+@node shake
+@section shake
+
+@seealso
+@ref{trill}.
+
+
+@node sharp
+@section sharp
+
+ES: sostenido,
+I: diesis,
+F: dièse,
+D: Kreuz,
+NL: kruis,
+DK: kryds,
+S: kors@-förtecken,
+FI: korotusmerkki.
+
+@seealso
+@ref{accidental}.
+
+
+@node simile
+@section simile
+
+ES: simile,
+I: simile,
+F: simile,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: samoin.
+
+[Italian: @q{in the same manner}] Performance direction: the music thus marked
+is to be played in the same manner (i.e. with the same articulations, dynamics,
+etc.) as the music that precedes it.
+
+@seealso
+TODO: Where else could I refer the reader?
+
+
+@node simple meter
+@section simple meter
+
+ES: compás simple, compás de subdivisión binaria,
+I: ?,
+F: mesure binaire,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: kaksijakoinen tahtiosoitus.
+
+A meter in which the basic beat is subdivided in two: that is, a meter
+that does not include triplet subdivision of the beat.
+
+@seealso
+@ref{compound meter}, @ref{meter}.
+
+
+@node sixteenth note
+@section sixteenth note
+
+@itemize
+@item UK: semiquaver
+@item ES: semicorchea
+@item I: semicroma
+@item F: double croche
+@item D: Sechzehntel, Sechzehntelnote
+@item NL: zestiende noot
+@item DK: sekstendedelsnode
+@item S: sextondelsnot
+@item FI: kuudestoistaosanuotti
+@end itemize
+
+@seealso
+@ref{note value}.
+
+
+@node sixteenth rest
+@section sixteenth rest
+
+@itemize
+@item UK: semiquaver rest
+@item ES: silencio de semicorchea
+@item I: pausa di semicroma
+@item F: quart de soupir
+@item D: Sechzehntelpause
+@item NL: zestiende rust
+@item DK: sekstendedelspause
+@item S: sextondelspaus
+@item FI: kuudestoistaosatauko
+@end itemize
+
+@seealso
+@ref{note value}.
+
+
+@node sixth
+@section sixth
+
+ES: sexta,
+I: sesta,
+F: sixte,
+D: Sexte,
+NL: sext,
+DK: sekst,
+S: sext,
+FI: seksti.
+
+@seealso
+@ref{interval}.
+
+
+@node sixty-fourth note
+@section sixty-fourth note
+
+@itemize
+@item UK: hemidemisemiquaver
+@item ES: semifusa
+@item I: semibiscroma
+@item F: quadruple croche
+@item D: Vierundsechzigstel, Vierundsechzigstelnote
+@item NL: vierenzestigste noot
+@item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
+@item S: sextiofjärdedelsnot
+@item FI: kuudeskymmenesneljäsosanuotti
+@end itemize
+
+@seealso
+@ref{note value}.
+
+
+@node sixty-fourth rest
+@section sixty-fourth rest
+
+@itemize
+@item UK: hemidemisemiquaver rest
+@item ES: silencio de semifusa
+@item I: pausa di semibiscroma
+@item F: seizième de soupir
+@item D: Vierundsechzigstelpause
+@item NL: vierenzestigste rust
+@item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
+@item S: sextiofjärdedelspaus
+@item FI: kuudeskymmenesneljäsosatauko
+@end itemize
+
+@seealso
+@ref{note value}.
+
+
+@node slash repeat
+@section slash repeat
+
+@seealso
+@ref{percent repeat}.
+
+
+@node slur
+@section slur
+
+ES: ligadura (de expresión),
+I: legatura (di portamento or espressiva),
+F: liaison, coulé,
+D: Bogen (Legatobogen, Phrasierungsbogen),
+NL: fraseringsboog, legatoboog, streekboog,
+DK: legatobue, fraseringsbue,
+S: båge,
+FI: kaari.
+
+A slur above or below a group of notes indicates that they are to be
+played @ref{legato}, e.g., with one stroke of the violin bow or with
+one breath in singing.
+
+@seealso
+No cross-references.
+
+
+@node solmization
+@section solmization
+
+ES: solmisación,
+I: solmisazione,
+F: solmisation,
+D: Solmisation,
+NL: solmizatie,
+DK: solmisation,
+S: solmisation,
+FI: suhteelliset laulunimet.
+
+General term for systems of designating the degrees of the
+@notation{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})).
+
+@seealso
+@ref{scale}, @ref{scale degree}.
+
+
+@node sonata
+@section sonata
+
+ES: sonata,
+I: sonata,
+F: sonate,
+D: Sonate,
+NL: sonate,
+DK: sonate,
+S: sonat,
+FI: sonaatti.
+
+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.
+
+@seealso
+No cross-references.
+
+
+@node sonata form
+@section sonata form
+
+ES: forma sonata,
+I: forma sonata,
+F: [en] forme de sonate,
+D: Sonatenform,
+NL: hoofdvorm, sonatevorm,
+DK: sonateform,
+S: sonatform,
+FI: sonaattimuoto.
+
+A form used frequently for single movements of the @emph{sonata},
+@emph{symphony}, quartet, etc. A movement written in sonata form falls into
+three sections called @notation{exposition}, @notation{development} and
+@notation{recapitulation}. In the exposition the composer introduces some
+musical ideas, consisting of a number of themes; in the development section the
+composer @emph{develops} this material, and in the recapitulation the composer
+repeats the exposition, with certain modifications. The exposition contains a
+number of themes that fall into two groups, often called first and second
+subject. Other melodies occurring in each group are considered as continuations
+of these two. The second theme is in another key, normally in the key of the
+@notation{dominant} if the @notation{tonic} is @notation{major}, and in the
+@notation{relative key} if the tonic is @notation{minor}.
+
+@seealso
+@ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
+@ref{symphony}, @ref{tonic}.
+
+
+@node song texts
+@section song texts
+
+@seealso
+@ref{lyrics}.
+
+
+@node soprano
+@section soprano
+
+ES: soprano,
+I: soprano,
+F: soprano,
+D: Sopran,
+NL: sopraan,
+DK: sopran,
+S: sopran,
+FI: sopraano, korkea naisääni.
+
+The highest female voice.
+
+@seealso
+No cross-references.
+
+
+@node staccato
+@section staccato
+
+ES: picado,
+I: staccato,
+F: staccato, piqué, détaché,
+D: staccato,
+NL: staccato,
+DK: staccato,
+S: staccato,
+FI: staccato, lyhyesti, terävästi.
+
+Playing the note(s) short. Staccato is indicated by a dot above or
+below the note head.
+
+@lilypond[quote,relative=2]
+\key d \major
+\time 4/4
+ \partial 8 a8 |
+ d4-\staccato cis-\staccato b-\staccato cis-\staccato |
+ d2.
+ \bar "||"
+@end lilypond
+
+@seealso
+No cross-references.
+
+
+@node staff
+@section staff
+
+UK: stave,
+ES: pentagrama,
+I: pentagramma, rigo (musicale),
+F: portée,
+D: Notensystem, Notenzeile,
+NL: (noten)balk, partij,
+DK: nodesystem,
+S: notsystem,
+FI: nuottiviivasto.
+
+A staff (plural: staves) is a series of (normally five) horizontal
+lines upon and between which the musical notes are written, thus
+indicating (in connection with a @ref{clef}) their pitch. Staves for
+@ref{percussion} instruments may have fewer lines.
+
+@seealso
+No cross-references.
+
+
+@node staves
+@section staves
+
+@seealso
+@ref{staff}.
+
+
+@node stem
+@section stem
+
+ES: plica,
+I: gamba,
+F: hampe,
+D: Hals, Notenhals, Stiel,
+NL: stok,
+DK: hals,
+S: skaft,
+FI: nuottipalkki.
+
+Vertical line above or below a @ref{note head} shorter than a
+whole note.
+
+@lilypond[quote,notime,relative=2]
+\set Score.autoBeaming = ##f
+ g2_"1/2" g' s16
+ g,4_"1/4" g' s16
+ g,8_"1/8" g' s16
+ g,16_"1/16" g' s16
+@end lilypond
+
+@seealso
+@ref{beam}.
+
+
+@node stringendo
+@section stringendo
+
+ES: ?,
+I: stringendo,
+F: stringendo, en accélérant,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: kiihdyttäen, nopeuttaen.
+
+[Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
+climax.
+
+@seealso
+@ref{accelerando}.
+
+
+@node strings
+@section strings
+
+ES: arcos, cuerdas,
+I: archi,
+F: cordes,
+D: Streicher,
+NL: strijkers,
+DK: strygere,
+S: stråkar,
+FI: jouset.
+
+A family of stringed musical instruments played with a bow. Strings
+commonly used in a symphony orchestra are violin, viola, violoncello,
+and double bass.
+
+@seealso
+No cross-references.
+
+
+@node strong beat
+@section strong beat
+
+ES: tiempo fuerte,
+I: tempo forte,
+F: temps fort,
+D: betonter Taktteil oder Taktschlag,
+NL: thesis,
+D: betonet taktslag,
+S: betonat taktslag,
+FI: tahdin vahva isku.
+
+@seealso
+@ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
+
+
+@node subdominant
+@section subdominant
+
+ES: subdominante,
+I: sottodominante,
+F: sous-dominante,
+D: Subdominante,
+NL: subdominant,
+DK: subdominant,
+S: subdominant,
+FI: subdominantti, alidominantti.
+
+The fourth @notation{scale degree}.
+
+@seealso
+@ref{functional harmony}, @ref{scale degree}.
+
+
+@node submediant
+@section submediant
+
+ES: submediante,
+I: sopratonica,
+F: sous-médiante,
+D: Submediante,
+NL: submediant,
+DK: Submediant,
+S: submediant,
+FI: alikeskisävel.
+
+The sixth @notation{scale degree}.
+
+@seealso
+@ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
+
+
+@node subtonic
+@section subtonic
+
+ES: subtónica,
+I: sottotonica,
+F: sous-tonique,
+D: Subtonika,
+NL: subtonica,
+DK: Subtonika,
+S: subtonika,
+FI: subtoonika, alitoonika.
+
+The seventh @ref{scale degree}.
+
+@seealso
+@ref{functional harmony}, @ref{scale degree}.
+
+
+@node sul G
+@section sul G
+
+ES: sobre la cuerda de Sol,
+I: sul g,
+F: sur la G,
+D: auf G, auf der G-Saite,
+NL: ?,
+DK: ?,
+S: ?,
+FI: G-kielellä.
+
+Indicates that the indicated passage (or note) should be played on the
+G string.
+
+@seealso
+No cross-references.
+
+
+@node superdominant
+@section superdominant
+
+ES: superdominante,
+I: sopradominante,
+F: sus-dominante,
+D: Superdominante,
+NL: superdominant,
+DK: superdominant,
+S: superdominant,
+FI: ylidominantti.
+
+The sixth @ref{scale degree}.
+
+@seealso
+@ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
+
+
+@node supertonic
+@section supertonic
+
+ES: supertónica,
+I: sopratonica,
+F: sus-tonique,
+D: Supertonika,
+NL: supertonica,
+DK: supertonika,
+S: supertonika,
+FI: ylitoonika.
+
+The second @ref{scale degree}.
+
+@seealso
+@ref{functional harmony}, @ref{scale degree}.
+
+
+@node symphony
+@section symphony
+
+ES: sinfonía,
+I: sinfonia,
+F: symphonie,
+D: Sinfonie, Symphonie,
+NL: symfonie,
+DK: symfoni,
+S: symfoni,
+FI: sinfonia.
+
+A symphony may be defined as a @emph{sonata} for orchestra.
+
+@seealso
+@ref{sonata}.
+
+
+
+@node syncopation
+@section syncopation
+
+ES: síncopa,
+I: sincope,
+F: syncope,
+D: Synkope,
+NL: syncope,
+DK: synkope,
+S: synkop,
+FI: synkooppi.
+
+Any deliberate upsetting of the normal pulse of @ref{meter},
+@ref{accent}, and @ref{rhythm}. The occidental 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.
+
+@lilypond[quote,relative=1]
+\time 2/4
+\partial 8 d16 dis
+e16 c'8 e,16 c'8 e,16 c' ~
+c4
+@end lilypond
+
+@seealso
+No cross-references.
+
+
+@node syntonic comma
+@section syntonic comma
+
+ES: coma sintónica, coma de Dídimo,
+I: comma sintonico (o didimico),
+F: comma syntonique,
+D: syntonisches Komma,
+NL: syntonische komma,
+DK: syntonisk komma,
+S: syntoniskt komma,
+FI: syntoninen komma, terssien taajuusero luonnollisessa ja
+Pytagorisessa viritysjärjestelmässä.
+
+Named after Ptolemy's syntonic diatonic genus. Originally, the difference
+by which the ditone exceeds the pure major third obtained by Pythagorean
+tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
+
+Modern acoustical theory defines it as the interval by which four fifths exceed
+the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
+
+This comma is also known as the comma of Didymus, or didymic comma.
+
+@seealso
+@ref{Pythagorean comma}
+
+
+@node system
+@section system
+
+ES: sistema,
+I: accollatura,
+F: système,
+D: Notensystem, Partitur,
+NL: systeem,
+DK: system,
+S: system,
+FI: nuottijärjestelmä.
+
+The collection of staves (@notation{staff}), two or more, as used for writing
+down of keyboard, chamber, choral, or orchestral music.
+
+@seealso
+@ref{staff}.
+
+
+@node temperament
+@section temperament
+
+ES: temperamento,
+I: temperamento,
+F: tempérament,
+D: Stimmung, Tem@-pe@-ra@-tur,
+NL: stemming, temperatuur,
+DK: temperatur,
+S: temperatur,
+FI: viritysjärjestelmä.
+
+Systems of tuning in which the intervals deviate from the acoustically
+pure intervals.
+
+@seealso
+@ref{meantone temperament}, @ref{equal temperament}.
+
+
+@node tempo indication
+@section tempo indication
+
+ES: indicación de tempo,
+I: indicazione di tempo,
+F: indication de tempo,
+D: Zeitmaß, Tempobezeichnung,
+NL: tempo aanduiding,
+DK: tempobetegelse,
+S: tempobeteckning,
+FI: tempomerkintä.
+
+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 @notation{largo},
+@notation{adagio}, @notation{andante}, @notation{allegro}, and
+@notation{presto}.
+
+@seealso
+@ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
+
+
+
+@node tenor
+@section tenor
+
+ES: tenor,
+I: tenore,
+F: ténor,
+D: Tenor,
+NL: tenor,
+DK: tenor,
+S: tenor,
+FI: tenori, korkea miesääni.
+
+The highest @q{natural} male voice (apart from @notation{countertenor}).
+
+@seealso
+@ref{countertenor}.
+
+
+@node tenth
+@section tenth
+
+ES: décima,
+I: decima,
+F: dixième,
+D: Dezime,
+NL: deciem,
+DK: decim,
+S: decima,
+FI: desimi.
+
+@seealso
+@ref{note value}.
+
+
+@node tenuto
+@section tenuto
+
+ES: subrayado (tenuto),
+I: tenuto,
+F: tenue, tenuto,
+D: gehalten, tenuo,
+NL: tenuto,
+DK: tenuto,
+S: tenuto,
+FI: viiva, tenuto.
+
+An indication that a particular note should be held for the whole
+length, although this can vary depending on the composer and era.
+
+@seealso
+No cross-references.
+
+
+@node third
+@section third
+
+ES: tercera,
+I: terza,
+F: tierce,
+D: Terz,
+NL: terts,
+DK: terts,
+S: ters,
+FI: terssi.
+
+@seealso
+@ref{interval}.
+
+
+@node thirty-second note
+@section thirty-second note
+
+@itemize
+@item UK: demisemiquaver
+@item ES: fusa
+@item I: biscroma
+@item F: triple croche
+@item D: Zweiunddreissigstel, Zweiunddreissigstelnote
+@item NL: twee@-endertig@-ste (32e) noot
+@item DK: toogtredivtedelsnode
+@item S: trettiotvåondelsnot
+@item FI: kolmaskymmeneskahdesosanuotti
+@end itemize
+
+@seealso
+@ref{note value}.
+
+
+@node thirty-second rest
+@section thirty-second rest
+
+@itemize
+@item UK: demisemiquaver rest
+@item ES: silencio de fusa
+@item I: pausa di biscroma
+@item F: huitième de soupir
+@item D: Zweiunddreissigstel@-pause
+@item NL: twee@-endertig@-ste (32e) rust
+@item DK: toogtredivtedelspause
+@item S: trettiotvåondelspaus
+@item FI: kolmaskymmeneskahdesosatauko
+@end itemize
+
+@seealso
+@ref{note value}.
+
+
+@node thorough bass
+@section thorough bass
+
+@seealso
+@ref{figured bass}.
+
+
+@node tie
+@section tie
+
+ES: ligadura de prolongación, ligadura de unión,
+I: legatura (di valore),
+F: liaison (de tenue),
+D: Haltebogen, Bindebogen,
+NL: overbinding, bindingsboog,
+DK: bindebue,
+S: bindebåge, överbindning,
+FI: sitominen.
+
+A curved line, identical in appearance with the @ref{slur}, which
+connects two succesive notes of the same pitch, and which has the
+function of uniting them into a single sound (tone) equal to the
+combined durations.
+
+@lilypond[quote,notime,relative=2]
+g2 ~ g4. r8
+@end lilypond
+
+
+@node time
+@section time
+
+@seealso
+@ref{meter}.
+
+
+@node time signature
+@section time signature
+
+ES: indicación de compás,
+I: segni di tempo,
+F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
+D: Taktangabe, Angabe der Taktart,
+NL: maatsoort,
+DK: taktangivelse,
+S: taktartssignatur,
+FI: tahtiosoitus.
+
+The sign placed at the beginning of a composition to indicate its
+meter. It most often takes the form of a fraction, but a few signs
+derived from mensural notation and proportions are also employed.
+
+@seealso
+@ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
+
+
+@node tone
+@section tone
+
+ES: tono,
+I: suono,
+F: ton, son,
+D: Ton,
+NL: toon,
+DK: tone,
+S: ton,
+FI: ääni.
+
+A sound of definite pitch and duration, as distinct from @emph{noise}.
+Tone is a primary building material of music.
+
+@c Music from the 20th century may be based on atonal sounds. Meh, not so much
+
+@seealso
+No cross-references.
+
+
+@node tonic
+@section tonic
+
+ES: tónica,
+I: tonica,
+F: tonique,
+D: Tonika,
+NL: tonica,
+DK: tonika,
+S: tonika,
+FI: toonika.
+
+The first @notation{scale degree}.
+
+@seealso
+@ref{functional harmony}, @ref{scale degree}.
+
+
+@node transposing instrument
+@section transposing instrument
+
+ES: instrumento transpositor,
+I: ?,
+F: instrument transpositeur,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: transponoitava soitin.
+
+Instruments whose notated pitch is different from their sounded pitch. Except
+for those whose notated and sounding pitches differ by one or more octaves (to
+reduce the number of ledger lines needed), most such instruments are identified
+by the letter name of the pitch class of their fundamental. The pitch class is
+the note that @emph{sounds} (disregarding the octave in which it sounds) when
+the instrument plays a notated C.
+
+For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
+the B-flat one tone lower. If played on the A clarinet, the same written
+note sounds the A (one and half tones -- a minor third -- lower).
+
+Not all transposing instruments include the pitch class in their name:
+
+@itemize
+
+@item English horn (in F)
+
+@item Alto flute (in G)
+
+@end itemize
+
+@seealso
+@ref{concert pitch}.
+
+
+@node transposition
+@section transposition
+
+ES: transporte,
+I: trasposizione,
+F: transposition,
+D: Transposition,
+NL: transpositie,
+DK: transposition,
+S: transponering,
+FI: transponointi.
+
+Shifting a melody up or down in pitch, while keeping the same
+relative pitches.
+
+@lilypond[quote,line-width=13.0\cm]
+\context Staff {
+ \time 3/4
+ \relative c'' {
+ \key g \major
+ d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
+ }
+}
+@end lilypond
+
+@lilypond[quote,line-width=13.0\cm]
+\context Staff {
+ \time 3/4
+ \transpose c bes \relative c'' {
+ \key g \major
+ d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
+ }
+}
+@end lilypond
+
+@seealso
+No cross-references.
+
+
+@node treble clef
+@section treble clef
+
+ES: clave de sol,
+I: chiave di violino,
+F: clef de sol,
+D: Violinschlüssel, Sopranschlüssel,
+NL: viool sleutel,
+DK: diskantnøgle,
+S: diskantklav,
+FI: diskanttiavain.
+
+@seealso
+@ref{G clef}.
+
+
+@node tremolo
+@section tremolo
+
+ES: trémolo,
+I: tremolo,
+F: trémolo,
+D: Tremolo,
+NL: tremolo,
+DK: tremolo,
+S: tremolo,
+FI: tremolo.
+
+On stringed instruments:
+
+@enumerate
+
+@item The quick reiteration of the same tone, produced by a rapid
+up-and-down movement of the bow.
+
+@item Or, the rapid alternation between two notes of a @ref{chord}, usually
+in the distance of a third (@ref{interval}).
+
+@end enumerate
+
+@lilypond[quote,notime,relative=1]
+ e2:32_"a"
+ f:32 [ e8:16 f:16 g:16 a:16 ] s4
+ \repeat tremolo 8 { e32_"b" g }
+@end lilypond
+
+@seealso
+@ref{strings}
+
+
+@node triad
+@section triad
+
+ES: tríada,
+I: triade,
+F: triade, accord parfait, accord de trois sons,
+D: Drei@-klang,
+NL: drieklank,
+DK: treklang,
+S: treklang,
+FI: kolmisointu.
+
+@seealso
+@ref{chord}.
+
+
+@node trill
+@section trill
+
+ES: trino,
+I: trillo,
+F: trille, tremblement, battement (cadence),
+D: Triller,
+NL: triller,
+DK: trille,
+S: drill,
+FI: trilli.
+
+@seealso
+@ref{ornament}.
+
+
+@node triple meter
+@section triple meter
+
+ES: compás ternario,
+I: tempo ternario,
+F: mesure ternaire,
+D: in drei, ungerader Takt,
+NL: driedelige maatsoort,
+DK: tredelt takt,
+S: tretakt,
+FI: kolmijakoinen.
+
+@seealso
+@ref{meter}.
+
+
+@node triplet
+@section triplet
+
+ES: tresillo,
+I: terzina,
+F: triolet,
+D: Triole,
+NL: triool,
+DK: triol,
+S: triol,
+FI: trioli.
+
+@seealso
+@ref{note value}.
+
+
+@node tritone
+@section tritone
+
+ES: tritono,
+I: tritono,
+F: triton,
+D: Tritonus,
+NL: tritoon,
+DK: tritonus,
+S: tritonus,
+FI: tritonus.
+
+@seealso
+@ref{interval}.
+
+
+@node tuning fork
+@section tuning fork
+
+ES: diapasón, horquilla de afinación,
+I: diapason, corista,
+F: diapason,
+D: Stimmgabel,
+NL: stemvork,
+DK: stemmegaffel,
+S: stämgaffel,
+FI: viritysavain.
+
+A two-pronged piece of steel used to indicate an absolute pitch, usually for
+@emph{A} above middle C (440 cps/Hz), which is the international tuning
+standard. Tuning forks for other pitches are available.
+
+@seealso
+@ref{middle C}.
+
+
+@node tuplet
+@section tuplet
+
+A non-standard subdivision of a beat or part of a beat, usually
+indicated with a bracket and a number indicating the number of
+subdivisions.
+
+@seealso
+@ref{triplet}, @ref{note value}.
+
+
+@node turn
+@section turn
+
+ES: grupeto (circular),
+I: gruppetto,
+F: grupetto,
+D: Doppelschlag,
+NL: dubbelslag,
+DK: dobbeltslag,
+S: dubbelslag,
+FI: korukuvio.
+
+@seealso
+@ref{ornament}.
+
+
+@node unison
+@section unison
+
+ES: unísono,
+I: unisono,
+F: unisson,
+D: unisono,
+NL: unisono,
+DK: unison,
+S: unison,
+FI: unisono, yksiäänisesti.
+
+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.
+
+@seealso
+No cross-references.
+
+
+@node upbeat
+@section upbeat
+
+ES: anacrusa,
+I: anacrusi,
+F: anacrouse, levée,
+D: Auftakt,
+NL: opmaat,
+DK: optakt,
+S: upptakt,
+FI: kohotahti.
+
+@seealso
+@ref{anacrusis}
+
+
+@node voice
+@section voice
+
+ES: voz,
+I: voce,
+F: voix,
+D: Stimme,
+NL: stem,
+DK: stemme,
+S: stämma,
+FI: ääni, lauluääni.
+
+@itemize
+
+ @item Human voices:
+
+ @itemize
+ @item @ref{soprano}
+ @item @ref{mezzo-soprano}
+ @item @ref{contralto}
+ @item @ref{tenor}
+ @item @ref{baritone}
+ @item @ref{bass}
+ @end itemize
+
+ @item A melodic layer or part of a polyphonic composition.
+
+@end itemize
+
+@seealso
+No cross-references.
+
+
+@node volta
+@section volta
+
+ES: vez, primera y segunda vez,
+I: volta,
+F: volta, fois,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: yksi kertauksen maaleista.
+
+[Italian: @q{time} (instance, not duration)] An ending, such as a first
+or second ending. LilyPond extends this idea to any number, and allows any text
+(not just a number) -- to serve as the @notation{volta} text.
+
+@seealso
+No cross-references.
+
+
+@node weak beat
+@section weak beat
+
+ES: tiempo débil,
+I: tempo debole, arsi,
+F: temps faible,
+D: unbetonter Taktteil oder Taktschlag,
+NL: arsis,
+DK: ubetonet taktslag,
+S: obetonat taktslag,
+FI: tahdin heikko isku.
+
+@seealso
+@ref{beat}, @ref{measure}, @ref{rhythm}.
+
+
+@node whole note
+@section whole note
+
+@itemize
+@item UK: semibreve
+@item ES: redonda
+@item I: semibreve
+@item F: ronde
+@item D: Ganze, ganze Note
+@item NL: hele noot
+@item DK: helnode
+@item S: helnot
+@item FI: kokonuotti
+@end itemize
+
+@seealso
+@ref{note value}.
+
+
+@node whole rest
+@section whole rest
+
+@itemize
+@item UK: semibreve rest
+@item ES: silencio de redonda
+@item I: pausa di semibreve
+@item F: pause
+@item D: ganze Pause, ganztaktige Pause
+@item NL: hele rust
+@item DK: helnodespause
+@item S: helpaus
+@item FI: kokotauko
+@end itemize
+
+@seealso
+@ref{note value}.
+
+
+@node whole tone
+@section whole tone
+
+ES: tono (entero),
+I: tono intero,
+F: ton entier,
+D: Ganzton,
+NL: hele toon,
+DK: heltone,
+S: helton,
+FI: kokoaskel.
+
+The 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.
+
+@seealso
+@ref{interval}.
+
+
+@node woodwind
+@section woodwind
+
+ES: maderas,
+I: legni,
+F: les bois,
+D: Holzbläser,
+NL: houtblazers,
+DK træblæsere,
+S: träblåsare,
+FI: puupuhaltimet.
+
+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.
+
+@seealso
+No cross-references.
+
+
+@node Duration names notes and rests
+@chapter Duration names notes and rests
+
+@multitable @columnfractions .12 .22 .22 .22 .22
+
+@headitem Lang. @tab note name
+ @tab rest name
+ @tab note name
+ @tab rest name
+@item @strong{US} @tab long
+ @tab long rest
+ @tab breve
+ @tab breve rest
+@item @strong{UK} @tab longa
+ @tab longa rest
+ @tab breve
+ @tab breve rest
+@item @strong{ES} @tab longa
+ @tab silencio de longa
+ @tab cuadrada
+ @tab silencio de cuadrada
+@item @strong{IT} @tab longa
+ @tab pausa di longa
+ @tab breve
+ @tab pausa di breve
+@item @strong{FR} @tab longa
+ @tab quadruple-pause
+ @tab brève
+ @tab double-pause
+@item @strong{DE} @tab Longa
+ @tab longa Pause
+ @tab Brevis
+ @tab brevis Pause
+@item @strong{NL} @tab longa
+ @tab longa rust
+ @tab brevis
+ @tab brevis rust
+@item @strong{DK} @tab longa
+ @tab longanodespause
+ @tab brevis
+ @tab brevis(nodes)pause
+@item @strong{SE} @tab longa
+ @tab longapaus
+ @tab brevis
+ @tab brevispaus
+@item @strong{FI} @tab longa-nuotti
+ @tab longa-tauko
+ @tab brevis-nuotti, kaksoiskoko@-nuotti
+ @tab brevis-tauko, kaksoiskoko@-tauko
+
+@end multitable
+
+@multitable @columnfractions .12 .22 .22 .22 .22
+
+@headitem Lang. @tab note name
+ @tab rest name
+ @tab note name
+ @tab rest name
+@item @strong{US} @tab whole note
+ @tab whole rest
+ @tab half note
+ @tab half rest
+@item @strong{UK} @tab semibreve
+ @tab semibreve rest
+ @tab minim
+ @tab minim rest
+@item @strong{ES} @tab redonda
+ @tab silencio de redonda
+ @tab blanca
+ @tab silencio de blanca
+@item @strong{IT} @tab semibreve
+ @tab pause di semibreve
+ @tab minima
+ @tab pausa di minima
+@item @strong{FR} @tab ronde
+ @tab pause
+ @tab blanche
+ @tab demi-pause
+@item @strong{DE} @tab ganze Note
+ @tab ganze Pause
+ @tab halbe Note
+ @tab halbe Pause
+@item @strong{NL} @tab hele noot
+ @tab hele rust
+ @tab halve noot
+ @tab halve rust
+@item @strong{DK} @tab helnode
+ @tab helnodespause
+ @tab halvnode
+ @tab halvnodespause
+@item @strong{SE} @tab helnot
+ @tab helpaus
+ @tab halvnot
+ @tab halvpaus
+@item @strong{FI} @tab kokonuotti
+ @tab kokotauko
+ @tab puolinuotti
+ @tab puolitauko
+
+@end multitable
+
+@multitable @columnfractions .12 .22 .22 .22 .22
+
+@headitem Lang. @tab note name
+ @tab rest name
+ @tab note name
+ @tab rest name
+@item @strong{US} @tab quarter note
+ @tab quarter rest
+ @tab eighth note
+ @tab eighth rest
+@item @strong{UK} @tab crotchet
+ @tab crotchet rest
+ @tab quaver
+ @tab quaver rest
+@item @strong{ES} @tab negra
+ @tab silencio de negra
+ @tab corchea
+ @tab silencio de corchea
+@item @strong{IT} @tab semiminima, nera
+ @tab pausa di semiminima, pausa di nera
+ @tab croma
+ @tab pausa di croma
+@item @strong{FR} @tab noire
+ @tab soupir*
+ @tab croche*
+ @tab demi-soupir
+@item @strong{DE} @tab Viertelnote
+ @tab Viertelpause
+ @tab Achtelnote
+ @tab Achtelpause
+@item @strong{NL} @tab kwartnoot
+ @tab kwartrust
+ @tab achtste noot
+ @tab achtste rust
+@item @strong{DK} @tab fjerdedelsnode
+ @tab fjerdedelspause
+ @tab ottendedelsnode
+ @tab ottendedelspause
+@item @strong{SE} @tab fjärdedelsnot
+ @tab fjärdedelspaus
+ @tab åttondelsnot
+ @tab åttondelspaus
+@item @strong{FI} @tab neljäsosa@-nuotti
+ @tab neljäsosa@-tauko
+ @tab kahdeksasosa@-nuotti
+ @tab kahdeksasosa@-tauko
+
+@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.
+
+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.
+
+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
+that means @q{note} with the part that means @q{rest}, for example:
+
+@itemize
+
+@item English: 16th @strong{note}, 16th @strong{rest}
+@item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
+@item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
+
+@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.
+
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang. @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US} @tab sixteenth note
+ @tab sixteenth rest
+ @tab 16th note
+@item @strong{UK} @tab semiquaver
+ @tab semiquaver rest
+ @tab -
+@item @strong{ES} @tab semicorchea
+ @tab silencio de semicorchea
+ @tab -
+@item @strong{IT} @tab semicroma
+ @tab pausa di semicroma
+ @tab -
+@item @strong{FR} @tab double croche
+ @tab quart de soupir
+ @tab -
+@item @strong{DE} @tab Sechzehntelnote
+ @tab Sechzehntelpause
+ @tab 16tel-Note
+@item @strong{NL} @tab zes@-ti@-ende noot
+ @tab zes@-ti@-ende rust
+ @tab 16e noot
+@item @strong{DK} @tab sekstendedelsnode
+ @tab sekstendedelspause
+ @tab -
+@item @strong{SE} @tab sextondelsnot
+ @tab sextondelspaus
+ @tab -
+@item @strong{FI} @tab kuudes@-toistaosa@-nuotti
+ @tab kuudes@-toistaosa@-tauko
+ @tab 16-osanuotti
+
+@end multitable
+
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang. @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US} @tab thirty-second note
+ @tab thirty-second rest
+ @tab 32nd note
+@item @strong{UK} @tab demisemiquaver
+ @tab demisemiquaver rest
+ @tab -
+@item @strong{ES} @tab fusa
+ @tab silencio de fusa
+ @tab -
+@item @strong{IT} @tab biscroma
+ @tab pausa di biscroma
+ @tab -
+@item @strong{FR} @tab triple croche
+ @tab huitième de soupir
+ @tab -
+@item @strong{DE} @tab Zweiunddreißig@-stelnote
+ @tab Zweiunddreißig@-stelpause
+ @tab 32tel-Note
+@item @strong{NL} @tab twee@-endertigste noot
+ @tab twee@-endertigste rust
+ @tab 32e noot
+@item @strong{DK} @tab toogtredivtedelsnode
+ @tab toogtredivtedelspause
+ @tab -
+@item @strong{SE} @tab trettio@-tvåondelsnot
+ @tab trettio@-tvåondelspaus
+ @tab -
+@item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
+ @tab kolmas@-kymmenes@-kahdesosa@-tauko
+ @tab 32-osanuotti
+
+@end multitable
+
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang. @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US} @tab sixty-fourth note
+ @tab sixty-fourth rest
+ @tab 64th note
+@item @strong{UK} @tab hemidemisemiquaver
+ @tab hemidemisemiquaver rest
+ @tab -
+@item @strong{ES} @tab semifusa
+ @tab silencio de semifusa
+ @tab -
+@item @strong{IT} @tab semibiscroma
+ @tab pausa di semibiscroma
+ @tab -
+@item @strong{FR} @tab quadruple croche
+ @tab seizième de soupir
+ @tab -
+@item @strong{DE} @tab Vierundsechzigstelnote
+ @tab Vierundsechzigstelpause
+ @tab 64tel-Note
+@item @strong{NL} @tab vierenzestigste noot
+ @tab vierenzestigste rust
+ @tab 64e noot
+@item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
+ @tab fireog@-tredsindstyven@-dedelspause
+ @tab -
+@item @strong{SE} @tab sextiofjärdedelsnot
+ @tab sextiofjärdedelspaus
+ @tab -
+@item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
+ @tab kuudes@-kymmenes@-neljäsosa@-tauko
+ @tab 64-osanuotti
+
+@end multitable
+
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang. @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US} @tab one-hundred-twenty-eighth note
+ @tab one-hundred-twenty-eighth rest
+ @tab 128th note
+@item @strong{UK} @tab semihemidemisemiquaver
+ @tab semihemidemisemiquaver rest
+ @tab -
+@item @strong{ES} @tab garrapatea
+ @tab silencio de garrapatea
+ @tab -
+@item @strong{IT} @tab fusa
+ @tab pausa di fusa
+ @tab -
+@item @strong{FR} @tab quintuple croche
+ @tab trente-deuxième de soupir @tab -
+@item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
+ @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
+@item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
+ @tab honderd@-acht@-en@-twintigste rust
+ @tab 128e noot
+@item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
+ @tab hundrede@-otte@-og@-tyvendedels@-pause
+ @tab -
+@item @strong{SE} @tab hundratjugoåttondelsnot
+ @tab hundratjugoåttondelspaus
+ @tab -
+@item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
+ @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
+ @tab 128-osanuotti
+
+@end multitable
+
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang. @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US} @tab two-hundred-fifty-sixth note
+ @tab two-hundred-fifty-sixth rest
+ @tab 256th note
+@item @strong{UK} @tab demisemihemidemisemiquaver
+ @tab demisemihemidemisemiquaver rest
+ @tab -
+@item @strong{ES} @tab semigarrapatea
+ @tab silencio de semigarrapatea @tab -
+@item @strong{IT} @tab semifusa
+ @tab pausa di semifusa
+ @tab -
+@item @strong{FR} @tab sextuple croche
+ @tab soixante-quatrième de soupir @tab -
+@item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
+ @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
+@item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
+ @tab tweehonderd@-zesenvijftigste rust
+ @tab 256e noot
+@item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
+ @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
+ @tab -
+@item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
+ @tab tvåhundra@-femtiosjättedelspaus
+ @tab -
+@item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
+ @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
+ @tab 256-osanuotti
+
+@end multitable
+
+@seealso
+@ref{mensural notation}
+
+
+@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 -->
+
+@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
+@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-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{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{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-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
+@end multitable
+
+
+@menu
+* Literature used::
+@end menu
+
+@node Literature used
+@unnumberedsec Literature used
+
+@itemize
+@item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
+Cambridge: Belknap Press (Harvard University Press), 1944.
+
+@item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
+WSOY, 1976.
+
+@item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
+Terminologie}. Kassel, 1980.
+
+@item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
+Current English}, 3rd ed. London: Oxford University Press, 1974.
+
+@item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
+Springfield, Massachusetts: G. & C. Merriam Company, 1913.
+
+@item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
+Cambridge: Belknap Press (Harvard University Press), 1986.
+
+@item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.
+
+@end itemize
+
+@bye
--- /dev/null
- Simple @qq{quoted text} indications may be added to a score.
+@c -*- coding: utf-8; mode: texinfo; -*-
+@ignore
+ Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+
+ When revising a translation, copy the HEAD committish of the
+ version that you are working on. See TRANSLATION for details.
+@end ignore
+
+@c \version "2.12.0"
+
+@node Text
+@section Text
+
+@lilypondfile[quote]{text-headword.ly}
+
+This section explains how to include text (with various
+formatting) in music scores.
+
+@noindent
+Some text elements that are not dealt with here are discussed in other
+specific sections: @ref{Vocal music}, @ref{Titles and headers}.
+
+@menu
+* Writing text::
+* Formatting text::
+* Fonts::
+@end menu
+
+@node Writing text
+@subsection Writing text
+
+This section introduces different ways of adding text to a score.
+
+@cindex Text, other languages
+@warning{To write accented and special text (such as characters
+from other languages), simply insert the characters directly into
+the LilyPond file. The file must be saved as UTF-8. For more
+information, see @ref{Text encoding}.}
+
+@menu
+* Text scripts::
+* Text spanners::
+* Text marks::
+* Separate text::
+@end menu
+
+
+@node Text scripts
+@unnumberedsubsubsec Text scripts
+
+@cindex Text scripts
+@cindex text items, non-empty
+@cindex non-empty texts
+@cindex quoted text
+
- @qq{Quoted text} and @code{\markup} commands may be manually
- placed above or below the staff; see @ref{Direction and
- placement}.
-
++Simple @qq{quoted text} indications may be added to a score, as
++demonstrated in the following example. Such indications may be
++manually placed above or below the staff, using the syntax described
++in @ref{Direction and placement}.
+
+@lilypond[quote,verbatim,relative=2]
+a8^"pizz." g f e a4-"scherz." f
+@end lilypond
+
+This syntax is actually a shorthand; more complex text
+formatting may be added to a note by explicitly using a
+@code{\markup} block, as described in @ref{Formatting text}.
+
+@lilypond[quote,verbatim,relative=2]
+a8^\markup { \italic pizz. } g f e
+a4_\markup { \tiny scherz. \bold molto } f
+@end lilypond
+
- @predefined
+By default, text indications do not influence the note spacing.
+However, their widths can be taken into account:
+in the following example, the first text string does not affect
+spacing, whereas the second one does.
+
+@lilypond[quote,verbatim,relative=2]
+a8^"pizz." g f e
+\textLengthOn
+a4_"scherzando" f
+@end lilypond
+
+
- @code{\textLengthOn},
+@funindex \textLengthOn
- @cindex Text spanners
++@funindex textLengthOn
+@funindex \textLengthOff
++@funindex textLengthOff
++
++@predefined
++@code{\textLengthOn},
+@code{\textLengthOff}.
+@endpredefined
+
+
+@seealso
+Notation Reference:
+@ref{Formatting text},
+@ref{Direction and placement}.
+
+Snippets:
+@rlsr{Text}.
+
+Internals Reference:
+@rinternals{TextScript}.
+
++@cindex text outside margin
++@cindex margin, text running over
++@cindex text, keeping inside margin
++@cindex lyrics, keeping inside margin
++
+
+@knownissues
+
+Checking to make sure that text scripts and lyrics are within the
+margins is a relatively large computational task. To speed up
+processing, LilyPond does not perform such calculations by
+default; to enable it, use
+
+@example
+\override Score.PaperColumn #'keep-inside-line = ##t
+@end example
+
+
+@node Text spanners
+@unnumberedsubsubsec Text spanners
+
- multiple notes with dotted lines.
- Such objects, called @qq{spanners}, may be created
- from one note to another using the following syntax:
++@cindex text spanners
+
+Some performance indications, e.g., @notation{rallentando} or
+@notation{accelerando}, are written as text and are extended over
- The string to be printed is set through
- object properties. By default it is printed in italic characters,
- but different formatting can be obtained using
- @code{\markup} blocks, as described in @ref{Formatting text}.
++multiple notes with dotted lines. Such objects, called @qq{spanners},
++may be created from one note to another using the following syntax:
+
+@lilypond[verbatim,quote,relative=2]
+\override TextSpanner #'(bound-details left text) = "rit."
+b1\startTextSpan
+e,\stopTextSpan
+@end lilypond
+
++@cindex text spanners, formatting
++@cindex formatting text spanners
++
+@noindent
- Text spanners may be manually placed above or below the staff; see
- @ref{Direction and placement}.
++The string to be printed is set through object properties. By default
++it is printed in italic characters, but different formatting can be
++obtained using @code{\markup} blocks, as described in @ref{Formatting
++text}.
+
+@lilypond[quote,relative=2,verbatim]
+\override TextSpanner #'(bound-details left text) =
+ \markup { \upright "rit." }
+b1\startTextSpan c
+e,\stopTextSpan
+@end lilypond
+
+The line style, as well as the text string, can be defined as an
+object property. This syntax is described in @ref{Line styles}.
+
- @funindex textSpannerUp
++
++@funindex \textSpannerUp
++@funindex textSpannerUp
++@funindex \textSpannerDown
++@funindex textSpannerDown
++@funindex \textSpannerNeutral
++@funindex textSpannerNeutral
+
+
+@predefined
- @funindex textSpannerDown
+@code{\textSpannerUp},
- @funindex textSpannerNeutral
+@code{\textSpannerDown},
- @ref{Dynamics},
- @ref{Direction and placement}.
+@code{\textSpannerNeutral}.
+@endpredefined
+
+
+@seealso
+Notation Reference:
+@ref{Line styles},
- This allows printing text separately
- from the music, which is particularly
- useful when the input file contains
- several music pieces, as described in
- @ref{Multiple scores in a book}.
++@ref{Dynamics}.
+
+Snippets:
+@rlsr{Text}.
+
+Internals Reference:
+@rinternals{TextSpanner}.
+
+
+@node Text marks
+@unnumberedsubsubsec Text marks
+
++
++@cindex text marks
++@cindex marks, text
++@cindex text on bar line
+@cindex coda on bar line
+@cindex segno on bar line
+@cindex fermata on bar line
+@cindex bar lines, symbols on
++
+@funindex \mark
++@funindex mark
++@funindex \markup
++@funindex markup
+
+Various text elements may be added to a score using
+the syntax described in @ref{Rehearsal marks}:
+
+@c \mark needs to be placed on a separate line (it's not
+@c attached to an object like \markup is). -vv
+
+@lilypond[verbatim,quote,relative=2]
+c4
+\mark "Allegro"
+c c c
+@end lilypond
+
+This syntax makes it possible to put any text on a bar line;
+more complex text formatting may be added using a @code{\markup}
+block, as described in @ref{Formatting text}:
+
+@lilypond[quote,verbatim,relative=1]
+<c e>1
+\mark \markup { \italic { colla parte } }
+<d f>2 <e g>
+<c f aes>1
+@end lilypond
+
+@noindent
+This syntax also allows to print special signs, like coda, segno
+or fermata, by specifying the appropriate symbol name as explained in
+@ref{Music notation inside markup}:
+
+@lilypond[quote,verbatim,relative=2]
+<bes f>2 <aes d>
+\mark \markup { \musicglyph #"scripts.ufermata" }
+<e g>1
+@end lilypond
+
+@noindent
+Such objects are only typeset above the top staff of the score; depending on
+whether they are specified at the end or the middle of a bar, they
+can be placed above the bar line or between notes. When specified at a
+line break, the mark will be printed at the beginning of the next line.
+
+@lilypond[quote,verbatim,relative=2]
+\mark "Allegro"
+c1 c
+\mark "assai" \break
+c c
+@end lilypond
+
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{printing-marks-at-the-end-of-a-line-or-a-score.ly}
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{aligning-marks-with-various-notation-objects.ly}
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{printing-marks-on-every-staff.ly}
+
+
+@seealso
+Notation Reference:
+@ref{Rehearsal marks},
+@ref{Formatting text},
+@ref{Music notation inside markup},
+@ref{The Feta font}.
+
+Snippets:
+@rlsr{Text}.
+
+Internals Reference:
+@rinternals{RehearsalMark}.
+
+
+@knownissues
+@c To be removed when Issue 69 in the tracker gets fixed. -vv
+
+If a mark is entered at the end of the last bar of the score (where
+there is no next line), then the mark will not be printed at
+all.
+
+@node Separate text
+@unnumberedsubsubsec Separate text
+
+@cindex separate text
++@cindex text, separate
+@cindex standalone text
+@cindex top-level text
++@cindex text, top-level
+@cindex text, standalone
++
+@funindex \markup
++@funindex markup
+
+A @code{\markup} block can exist by itself, outside of any
+any @code{\score} block, as a @qq{top-level
+expression}. This syntax is described in @ref{File structure}.
+
+@lilypond[verbatim,quote]
+\markup {
+ Tomorrow, and tomorrow, and tomorrow...
+}
+@end lilypond
+
+@noindent
- @predefined
++This allows printing text separately from the music, which is
++particularly useful when the input file contains several music pieces,
++as described in @ref{Multiple scores in a book}.
+
+@lilypond[quote,verbatim]
+\score {
+ c'1
+}
+\markup {
+ Tomorrow, and tomorrow, and tomorrow...
+}
+\score {
+ c'1
+}
+@end lilypond
+
+Separate text blocks can be spread over multiple pages,
+making it possible to print text documents or books entirely
+within LilyPond. This feature, and the specific syntax it
+requires, are described in @ref{Multi-page markup}.
+
+
- Unlike simple @qq{quoted text} indications, @code{\markup} blocks
- may contain nested expressions or markup commands,
- entered using the backslash @code{\} character.
- Such commands only affect the first following expression.
++@funindex \markup
++@funindex markup
+@funindex \markuplines
++@funindex markuplines
++
++@predefined
+@code{\markup},
+@code{\markuplines}.
+@endpredefined
+
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+{stand-alone-two-column-markup.ly}
+
+@seealso
+Notation Reference: @ref{Formatting text},
+@ref{File structure},
+@ref{Multiple scores in a book},
+@ref{Multi-page markup}.
+
+Snippets:
+@rlsr{Text}.
+
+Internals Reference: @rinternals{TextScript}.
+
+
+@node Formatting text
+@subsection Formatting text
+
+This section presents basic and advanced text formatting,
+using the @code{\markup} mode specific syntax.
+
+@menu
+* Text markup introduction::
+* Selecting font and font size::
+* Text alignment::
+* Graphic notation inside markup::
+* Music notation inside markup::
+* Multi-page markup::
+@end menu
+
+@node Text markup introduction
+@unnumberedsubsubsec Text markup introduction
+
+@cindex markup
+@cindex text markup
+@cindex markup text
+@cindex typeset text
++
+@funindex \markup
++@funindex markup
+
+A @code{\markup} block is used to typeset text with an extensible
+syntax called @qq{markup mode}.
+
+@cindex markup expressions
++@cindex expressions, markup
+@cindex markup syntax
++@cindex synatax, markup
+
+The markup syntax is similar to LilyPond's usual syntax: a
+@code{\markup} expression is enclosed in curly braces @code{@{
+@dots{} @}}. A single word is regarded as a minimal expression,
+and therefore does not need to be enclosed with braces.
+
- A @code{\markup} block may also contain quoted text strings.
- Such strings are treated as minimal text expressions, and
- therefore any markup command or special character (such as
- @code{\} and @code{#}) will be printed verbatim without affecting
- the formatting of the text. Double quotation marks themselves
- may be printed by preceding them with backslashes.
++Unlike simple @qq{quoted text} indications, @code{\markup} blocks may
++contain nested expressions or markup commands, entered using the
++backslash @code{\} character. Such commands only affect the first
++following expression.
+
+@lilypond[quote,verbatim,relative=2]
+a1-\markup intenso
+a2^\markup { poco \italic più forte }
+c e1
+d2_\markup { \italic "string. assai" }
+e
+b1^\markup { \bold { molto \italic agitato } }
+c
+@end lilypond
+
+@cindex special characters in markup mode
+@cindex markup mode, special characters
+@cindex reserved characters, printing
++@cindex printing reserved characters
+@cindex printing special characters
+@cindex quoted text in markup mode
++@cindex markup mode, quoted text
+
- To be treated as a distinct expression, a list of words needs
- to be enclosed with double quotes or preceded by a command.
- The way markup expressions are defined affects how these
- expressions will be stacked, centered and aligned; in the
- following example, the second @code{\markup} expression is
- treated the same as the first one:
++A @code{\markup} block may also contain quoted text strings. Such
++strings are treated as minimal text expressions, and therefore any
++markup command or special character (such as @code{\} and @code{#})
++will be printed verbatim without affecting the formatting of the text.
++Double quotation marks themselves may be printed by preceding them
++with backslashes.
+
+@lilypond[quote,verbatim,relative=2]
+a1^"\italic markup..."
+a_\markup { \italic "... prints \"italic\" letters!" }
+a a
+@end lilypond
+
- Text may be printed as subscript or superscript. By default
- these are printed in a smaller size, but a normal size can be used as well:
++To be treated as a distinct expression, a list of words needs to be
++enclosed with double quotes or preceded by a command. The way markup
++expressions are defined affects how these expressions will be stacked,
++centered and aligned; in the following example, the second
++@code{\markup} expression is treated the same as the first one:
+
+@lilypond[quote,verbatim,relative=2]
+c1^\markup { \center-column { a bbb c } }
+c1^\markup { \center-column { a { bbb c } } }
+c1^\markup { \center-column { a \line { bbb c } } }
+c1^\markup { \center-column { a "bbb c" } }
+@end lilypond
+
+Markups can be stored in variables. Such variables may be
+directly attached to notes:
+
+@lilypond[quote,verbatim]
+allegro = \markup { \bold \large Allegro }
+
+{
+ d''8.^\allegro
+ d'16 d'4 r2
+}
+@end lilypond
+
+
+@noindent
+An exhaustive list of @code{\markup}-specific commands can be found in
+@ref{Text markup commands}.
+
+
+@seealso
+Notation Reference:
+@ref{Text markup commands}.
+
+Snippets:
+@rlsr{Text}.
+
+Installed files:
+@file{scm/@/markup@/.scm}.
+
+
+@knownissues
+
+Syntax errors for markup mode can be confusing.
+
+
+@node Selecting font and font size
+@unnumberedsubsubsec Selecting font and font size
+
+@cindex font switching
++@cindex changing fonts
++@cindex switching fonts
++
+@funindex \italic
++@funindex italic
+@funindex \bold
++@funindex bold
+@funindex \underline
++@funindex underline
+
+Basic font switching is supported in markup mode:
+
+@lilypond[quote,verbatim,relative=2]
+d1^\markup {
+ \bold { Più mosso }
+ \italic { non troppo \underline Vivo }
+}
+r2 r4 r8
+d,_\markup { \italic quasi \smallCaps Tromba }
+f1 d2 r
+@end lilypond
+
+@cindex font size
+@cindex text size
++
+@funindex \fontsize
++@funindex fontsize
+@funindex \smaller
++@funindex smaller
+@funindex \larger
++@funindex larger
+@funindex \magnify
++@funindex magnify
+
+The size of the characters can also be altered in different ways:
+@itemize
+@item
+the font size can be set to predefined standard sizes,
+
+@item
+the font size can be set to an absolute value,
+
+@item
+the font size can also be changed relatively to its previous value.
+@end itemize
+
+@noindent
+The following example demonstrates these three methods:
+
+@lilypond[quote,verbatim,relative=1]
+f1_\markup {
+ \tiny espressivo
+ \large e
+ \normalsize intenso
+}
+a^\markup {
+ \fontsize #5 Sinfonia
+ \fontsize #2 da
+ \fontsize #3 camera
+}
+bes^\markup { (con
+ \larger grande
+ \smaller emozione
+ \magnify #0.6 { e sentimento } )
+}
+d c2 r8 c bes a g1
+@end lilypond
+
+@cindex subscript
+@cindex superscript
++
+@funindex \super
++@funindex super
+@funindex \sub
++@funindex sub
+
- The markup mode provides an easy way to select alternate
- font families. The default serif font, of roman type, is
- automatically selected unless specified otherwise; on the
- last line of the following example, there is no difference
- between the first and the second word.
++Text may be printed as subscript or superscript. By default these are
++printed in a smaller size, but a normal size can be used as well:
+
+@lilypond[quote,verbatim]
+\markup {
+ \column {
+ \line { 1 \super st movement }
+ \line { 1 \normal-size-super st movement
+ \sub { (part two) } }
+ }
+}
+@end lilypond
+
+@cindex font families
+
- Some of these font families, used for specific items
- such as numbers or dynamics, do not provide all
- characters, as mentioned in @ref{New dynamic marks} and
- @ref{Manual repeat marks}.
++The markup mode provides an easy way to select alternate font
++families. The default serif font, of roman type, is automatically
++selected unless specified otherwise; on the last line of the following
++example, there is no difference between the first and the second word.
+
+@lilypond[quote,verbatim]
+\markup {
+ \column {
+ \line { Act \number 1 }
+ \line { \sans { Scene I. } }
+ \line { \typewriter { Verona. An open place. } }
+ \line { Enter \roman Valentine and Proteus. }
+ }
+}
+@end lilypond
+
+@noindent
- When used inside a word, some font-switching or formatting
- commands may produce an unwanted blank space. This can
- easily be solved by concatenating the text elements together:
++Some of these font families, used for specific items such as numbers
++or dynamics, do not provide all characters, as mentioned in @ref{New
++dynamic marks} and @ref{Manual repeat marks}.
+
+@c \concat is actually documented in Align (it is not
+@c a font-switching command). But we need it here. -vv
+
- An exhaustive list of font switching, and custom font usage
++When used inside a word, some font-switching or formatting commands
++may produce an unwanted blank space. This can easily be solved by
++concatenating the text elements together:
+
+@lilypond[quote,verbatim]
+\markup {
+ \column {
+ \line {
+ \concat { 1 \super st }
+ movement
+ }
+ \line {
+ \concat { \dynamic p , }
+ \italic { con dolce espressione }
+ }
+ }
+}
+@end lilypond
+
- @funindex \teeny
++An exhaustive list of font switching commands and custom font usage
+commands can be found in @ref{Font}.
+
+Defining custom font sets is also possible, as explained in
+@ref{Fonts}.
+
++@funindex \teeny
++@funindex teeny
++@funindex \tiny
++@funindex tiny
++@funindex \small
++@funindex small
++@funindex \normalsize
++@funindex normalsize
++@funindex \large
++@funindex large
++@funindex \huge
++@funindex huge
++@funindex \smaller
++@funindex smaller
++@funindex \larger
++@funindex larger
++
+
+@predefined
- @funindex \tiny
+@code{\teeny},
- @funindex \small
+@code{\tiny},
- @funindex \normalsize
+@code{\small},
- @funindex \large
+@code{\normalsize},
- @funindex \huge
+@code{\large},
- @funindex \smaller
+@code{\huge},
- @funindex \larger
+@code{\smaller},
- This subsection discusses how to place text in markup mode.
- Markup objects can also be moved as a whole, using the syntax
- described in @rlearning{Moving objects}.
+@code{\larger}.
+@endpredefined
+
+
+@seealso
+Notation Reference:
+@ref{Font},
+@ref{New dynamic marks},
+@ref{Manual repeat marks},
+@ref{Fonts}.
+
+Snippets:
+@rlsr{Text}.
+
+Internals Reference:
+@rinternals{TextScript}.
+
+Installed files:
+@file{scm/@/define@/-markup@/-commands@/.scm}.
+
+
+@node Text alignment
+@unnumberedsubsubsec Text alignment
+
+@cindex text, aligning
+@cindex aligning text
++@cindex aligning markup text
++@cindex aligning markups
++@cindex markups, aligning
++@cindex markup text, aligning
+
- Markup objects may be aligned in different ways. By default,
- a text indication is aligned on its left edge: in the following
- example, there is no difference
- between the first and the second markup.
++This subsection discusses how to place text in markup mode. Markup
++objects can also be moved as a whole, using the syntax described in
++@rlearning{Moving objects}.
+
+@c Padding commands should be mentioned on this page, but
+@c most of these require \box to be more clearly illustrated. -vv
+
+@cindex text, horizontal alignment
+@cindex horizontal text alignment
++
+@funindex \left-align
++@funindex left-align
+@funindex \center-align
++@funindex center-align
+@funindex \right-align
++@funindex right-align
+
- Horizontal alignment may be fine-tuned
- using a numeric value:
++Markup objects may be aligned in different ways. By default, a text
++indication is aligned on its left edge: in the following example,
++there is no difference between the first and the second markup.
+
+@lilypond[quote,verbatim,relative=2]
+d1-\markup { poco }
+f
+d-\markup { \left-align poco }
+f
+d-\markup { \center-align { poco } }
+f
+d-\markup { \right-align poco }
+@end lilypond
+
+@funindex \halign
++@funindex halign
+
- Some objects may have alignment procedures of their own,
- and therefore are not affected by these commands. It is
- possible to move such markup objects as a whole, as shown
- for instance in @ref{Text marks}.
++Horizontal alignment may be fine-tuned using a numeric value:
+
+@lilypond[quote,verbatim,relative=2]
+a1-\markup { \halign #-1 poco }
+e'
+a,-\markup { \halign #0 poco }
+e'
+a,-\markup { \halign #0.5 poco }
+e'
+a,-\markup { \halign #2 poco }
+@end lilypond
+
+@noindent
- Vertical alignment is a bit more complex. As stated above,
- markup objects can be moved as a whole; however, it is also
- possible to move specific elements inside a markup block.
- In this case, the element to be moved needs to be preceded
- with an @emph{anchor point}, that can be another markup element
- or an invisible object. The following example demonstrates these
- two possibilities; the last markup in this example has no anchor
- point, and therefore is not moved.
++Some objects may have alignment procedures of their own, and therefore
++are not affected by these commands. It is possible to move such
++markup objects as a whole, as shown for instance in @ref{Text marks}.
+
+@cindex text, vertical alignment
+@cindex vertical text alignment
++
+@funindex \raise
++@funindex raise
+@funindex \lower
++@funindex lower
++@funindex \null
++@funindex null
++
++@c QUERY Should the function of ``\null'' be clarified? rp
+
- Some commands can affect both the horizontal and vertical
- alignment of text objects in markup mode. Any object
- affected by these commands must be preceded with an
- anchor point:
++Vertical alignment is a bit more complex. As stated above, markup
++objects can be moved as a whole; however, it is also possible to move
++specific elements inside a markup block. In this case, the element to
++be moved needs to be preceded with an @emph{anchor point}, that can be
++another markup element or an invisible object. The following example
++demonstrates these two possibilities; the last markup in this example
++has no anchor point, and therefore is not moved.
+
+@lilypond[quote,verbatim,relative=1]
+d2^\markup {
+ Acte I
+ \raise #2 { Scène 1 }
+}
+a'
+g_\markup {
+ \null
+ \lower #4 \bold { Très modéré }
+}
+a
+d,^\markup {
+ \raise #4 \italic { Une forêt. }
+}
+a'4 a g2 a
+@end lilypond
+
+@funindex \general-align
++@funindex general-align
+@funindex \translate
++@funindex translate
+@funindex \translate-scaled
++@funindex translate-scaled
+
- @funindex \column
- @funindex \center-column
-
++Some commands can affect both the horizontal and vertical alignment of
++text objects in markup mode. Any object affected by these commands
++must be preceded with an anchor point:
+
+@lilypond[quote,verbatim,relative=1]
+d2^\markup {
+ Acte I
+ \translate #'(-1 . 2) "Scène 1"
+}
+a'
+g_\markup {
+ \null
+ \general-align #Y #3.2 \bold "Très modéré"
+}
+a
+d,^\markup {
+ \null
+ \translate-scaled #'(-1 . 2) \teeny "Une forêt."
+}
+a'4 a g2 a
+@end lilypond
+
- A markup object may include several lines of text.
- In the following example, each element or expression
- is placed on its own line, either left-aligned or centered:
+@cindex multi-line markup
++@cindex markup, multi-line
+@cindex multi-line text
++@cindex text, multi-line
++@cindex text in columns
+@cindex columns, text
+
- @funindex \fill-line
-
++@funindex \column
++@funindex column
++@funindex \center-column
++@funindex center-column
++
++A markup object may include several lines of text. In the following
++example, each element or expression is placed on its own line, either
++left-aligned or centered:
+
+@lilypond[quote,verbatim]
+\markup {
+ \column {
+ a
+ "b c"
+ \line { d e f }
+ }
+ \hspace #10
+ \center-column {
+ a
+ "b c"
+ \line { d e f }
+ }
+}
+@end lilypond
+
- Similarly, a list of elements or expressions may be
- spread to fill the entire horizontal line width (if there
- is only one element, it will be centered on the page).
- These expressions can, in turn, include multi-line text
- or any other markup expression:
+@cindex centering text on the page
++@cindex text, centering on the page
++@cindex markup, centering on the page
+
- @funindex \wordwrap
- @funindex \justify
-
++@funindex \fill-line
++@funindex fill-line
++
++Similarly, a list of elements or expressions may be spread to fill the
++entire horizontal line width (if there is only one element, it will be
++centered on the page). These expressions can, in turn, include
++multi-line text or any other markup expression:
+
+@lilypond[quote,verbatim]
+\markup {
+ \fill-line {
+ \line { William S. Gilbert }
+ \center-column {
+ \huge \smallCaps "The Mikado"
+ or
+ \smallCaps "The Town of Titipu"
+ }
+ \line { Sir Arthur Sullivan }
+ }
+}
+\markup {
+ \fill-line { 1885 }
+}
+@end lilypond
+
- Long text indications can also be automatically wrapped
- accordingly to the given line width. These will be
- either left-aligned or justified, as shown in
- the following example.
+@cindex wordwrapped text
+@cindex justified text
++@cindex text, justified
++@cindex text, wordwrapped
++@cindex markup text, wordwrapped
++@cindex markup text, justified
++
++@funindex \wordwrap
++@funindex wordwrap
++@funindex \justify
++@funindex justify
+
- An exhaustive list of text alignment commands
- can be found in @ref{Align}.
++Long text indications can also be automatically wrapped accordingly to
++the given line width. These will be either left-aligned or justified,
++as shown in the following example.
+
+@lilypond[quote,verbatim]
+\markup {
+ \column {
+ \line \smallCaps { La vida breve }
+ \line \bold { Acto I }
+ \wordwrap \italic {
+ (La escena representa el corral de una casa de
+ gitanos en el Albaicín de Granada. Al fondo una
+ puerta por la que se ve el negro interior de
+ una Fragua, iluminado por los rojos resplandores
+ del fuego.)
+ }
+ \hspace #0
+
+ \line \bold { Acto II }
+ \override #'(line-width . 50)
+ \justify \italic {
+ (Calle de Granada. Fachada de la casa de Carmela
+ y su hermano Manuel con grandes ventanas abiertas
+ a través de las que se ve el patio
+ donde se celebra una alegre fiesta)
+ }
+ }
+}
+@end lilypond
+
- Various graphic objects may be added to a score,
- using markup commands.
++@cindex text alignment commands
++@cindex markup text alignment commands
++@cindex alignment, text, commands
++
++An exhaustive list of text alignment commands can be found in
++@ref{Align}.
+
+
+@seealso
+Learning Manual:
+@rlearning{Moving objects}.
+
+Notation Reference:
+@ref{Align},
+@ref{Text marks}.
+
+Snippets:
+@rlsr{Text}.
+
+Internals Reference: @rinternals{TextScript}.
+
+Installed files:
+@file{scm/@/define@/-markup@/-commands@/.scm}.
+
+
+@node Graphic notation inside markup
+@unnumberedsubsubsec Graphic notation inside markup
+
+@cindex graphics, embedding
+@cindex drawing graphic objects
++@cindex graphic objects, drawing
++@cindex embedding graphic objects
++@cindex graphic objects, embedding
+
- @cindex decorating text
- @cindex framing text
-
- Some markup commands allow decoration of text elements
- with graphics, as demonstrated in the following example.
++Various graphic objects may be added to a score, using markup
++commands.
++
++@cindex decorating text
++@cindex framing text
++@cindex text, framing
++@cindex text, decorating
++@cindex markup text, decorating
++@cindex markup text, framing
+
+@funindex \box
++@funindex box
+@funindex \circle
++@funindex circle
+@funindex \rounded-box
++@funindex rounded-box
+@funindex \bracket
++@funindex bracket
+@funindex \hbracket
++@funindex hbracket
+
- @cindex padding around text
- @cindex text padding
-
- Some commands may require an increase in the padding around
- the text; this is achieved with some markup commands
- exhaustively described in @ref{Align}.
++Some markup commands allow decoration of text elements with graphics,
++as demonstrated in the following example.
+
+@lilypond[quote,verbatim]
+\markup \fill-line {
+ \center-column {
+ \circle Jack
+ \box "in the box"
+ \null
+ \line {
+ Erik Satie
+ \hspace #3
+ \bracket "1866 - 1925"
+ }
+ \null
+ \rounded-box \bold Prelude
+ }
+}
+@end lilypond
+
++@cindex padding around text
++@cindex text padding
++@cindex markup text padding
++
+@funindex \pad-markup
++@funindex pad-markup
+@funindex \pad-x
++@funindex pad-x
+@funindex \pad-to-box
++@funindex pad-to-box
+@funindex \pad-around
++@funindex pad-around
+
- @cindex graphic notation
- @cindex symbols, non-musical
-
- Other graphic elements or symbols may be printed
- without requiring any text. As with any markup
- expression, such objects can be combined.
++Some commands may require an increase in the padding around the text;
++this is achieved with some markup commands exhaustively described in
++@ref{Align}.
+
+@lilypond[quote,verbatim]
+\markup \fill-line {
+ \center-column {
+ \box "Charles Ives (1874 - 1954)"
+ \null
+ \box \pad-markup #2 "THE UNANSWERED QUESTION"
+ \box \pad-x #8 "A Cosmic Landscape"
+ \null
+ }
+}
+\markup \column {
+ \line {
+ \hspace #10
+ \box \pad-to-box #'(-5 . 20) #'(0 . 5)
+ \bold "Largo to Presto"
+ }
+ \pad-around #3
+ "String quartet keeps very even time,
+Flute quartet keeps very uneven time."
+}
+@end lilypond
+
++@cindex graphic notation
++@cindex symbols, non-musical
++@cindex non-musical symbols
++@cindex notation, graphic
++
+@funindex \combine
++@funindex combine
+@funindex \draw-circle
++@funindex draw-circle
+@funindex \filled-box
++@funindex filled-box
+@funindex \triangle
++@funindex triangle
+@funindex \draw-line
++@funindex draw-line
+@funindex \arrow-head
++@funindex arrow-head
+
- @funindex \epsfile
- @funindex \postscript
-
++Other graphic elements or symbols may be printed without requiring any
++text. As with any markup expression, such objects can be combined.
+
+@lilypond[quote,verbatim]
+\markup {
+ \combine
+ \draw-circle #4 #0.4 ##f
+ \filled-box #'(-4 . 4) #'(-0.5 . 0.5) #1
+ \hspace #5
+
+ \center-column {
+ \triangle ##t
+ \combine
+ \draw-line #'(0 . 4)
+ \arrow-head #Y #DOWN ##f
+ }
+}
+@end lilypond
+
- Advanced graphic features include the ability to
- include external image files converted to the
- Encapsulated PostScript format (@emph{eps}), or
- to directly embed graphics into the input file,
- using native PostScript code. In such a case, it
- may be useful to explicitly specify the size of the
- drawing, as demonstrated below:
+@cindex embedded graphics
+@cindex images, embedding
+@cindex graphics, embedding
+@cindex postscript
+
- An exhaustive list of graphics-specific commands
- can be found in @ref{Graphic}.
++@funindex \epsfile
++@funindex epsfile
++@funindex \postscript
++@funindex postscript
++
++Advanced graphic features include the ability to include external
++image files converted to the Encapsulated PostScript format
++(@emph{eps}), or to directly embed graphics into the input file, using
++native PostScript code. In such a case, it may be useful to
++explicitely specify the size of the drawing, as demonstrated below:
+
+@lilypond[quote,verbatim,relative=1]
+c1^\markup {
+ \combine
+ \epsfile #X #10 #"./context-example.eps"
+ \with-dimensions #'(0 . 6) #'(0 . 10)
+ \postscript #"
+ -2 3 translate
+ 2.7 2 scale
+ newpath
+ 2 -1 moveto
+ 4 -2 4 1 1 arct
+ 4 2 3 3 1 arct
+ 0 4 0 3 1 arct
+ 0 0 1 -1 1 arct
+ closepath
+ stroke"
+ }
+c
+@end lilypond
+
- Various musical notation elements may be added
- to a score, inside a markup object.
++An exhaustive list of graphics-specific commands can be found in
++@ref{Graphic}.
+
+
+@seealso
+Notation Reference:
+@ref{Graphic},
+@ref{Editorial annotations}.
+
+Snippets:
+@rlsr{Text}.
+
+Internals Reference: @rinternals{TextScript}.
+
+Installed files:
+@file{scm/@/define@/-markup@/-commands@/.scm},
+@file{scm/@/stencil@/.scm}.
+
+
+@node Music notation inside markup
+@unnumberedsubsubsec Music notation inside markup
+
- Notes and accidentals can be entered using markup
- commands:
++@cindex notation inside markup
++@cindex music inside markup
++@cindex markup, music notation inside
++
++Various musical notation elements may be added to a score, inside a
++markup object.
+
- More generally, any available musical symbol may be
- included separately in a markup object, as demonstrated
- below; an exhaustive list of these symbols and their
- names can be found in @ref{The Feta font}.
++Notes and accidentals can be entered using markup commands:
+
+@lilypond[quote,verbatim,relative=2]
+a2 a^\markup {
+ \note #"4" #1
+ =
+ \note-by-number #1 #1 #1.5
+}
+b1_\markup {
+ \natural \semiflat \flat
+ \sesquiflat \doubleflat
+}
+\glissando
+a1_\markup {
+ \natural \semisharp \sharp
+ \sesquisharp \doublesharp
+}
+\glissando b
+@end lilypond
+
+Other notation objects may also be printed
+in markup mode:
+
+@lilypond[quote,verbatim,relative=1]
+g1 bes
+ees-\markup {
+ \finger 4
+ \tied-lyric #"~"
+ \finger 1
+}
+fis_\markup { \dynamic rf }
+bes^\markup {
+ \beam #8 #0.1 #0.5
+}
+cis
+d-\markup {
+ \markalphabet #8
+ \markletter #8
+}
+@end lilypond
+
- Another way of printing non-text glyphs is described in
- @ref{Fonts explained}. This is useful for printing braces of
- various sizes.
++More generally, any available musical symbol may be included
++separately in a markup object, as demonstrated below; an exhaustive
++list of these symbols and their names can be found in @ref{The Feta
++font}.
+
+@lilypond[quote,verbatim,relative=2]
+c2
+c'^\markup { \musicglyph #"eight" }
+c,4
+c,8._\markup { \musicglyph #"clefs.G_change" }
+c16
+c2^\markup { \musicglyph #"timesig.neomensural94" }
+@end lilypond
+
+@noindent
- A whole score can even be nested inside a markup object.
- In such a case, the nested @code{\score} block must
- contain a @code{\layout} block, as demonstrated here:
++Another way of printing non-text glyphs is described in @ref{Fonts
++explained}. This is useful for printing braces of various sizes.
+
+The markup mode also supports diagrams for specific
+instruments:
+
+@lilypond[quote,verbatim,relative=2]
+c1^\markup {
+ \fret-diagram-terse #"x;x;o;2;3;2;"
+}
+c^\markup {
+ \harp-pedal #"^-v|--ov^"
+}
+c
+c^\markup {
+ \combine
+ \musicglyph #"accordion.accDiscant"
+ \combine
+ \raise #0.5 \musicglyph #"accordion.accDot"
+ \raise #1.5 \musicglyph #"accordion.accDot"
+}
+@end lilypond
+
+@c The accordion diagram is actually taken from a snippet.
+
+@noindent
+Such diagrams are documented in @ref{Instrument Specific Markup}.
+
- An exhaustive list of music notation related commands can be
- found in @ref{Music}.
++@cindex score inside markup
++@cindex markup, score inside
++
++A whole score can even be nested inside a markup object. In such a
++case, the nested @code{\score} block must contain a @code{\layout}
++block, as demonstrated here:
+
+@lilypond[quote,verbatim,relative=1]
+c4 d^\markup {
+ \score {
+ \relative c' { c4 d e f }
+ \layout { }
+ }
+}
+e f |
+c d e f
+@end lilypond
+
- Although standard markup objects are not breakable, a
- specific syntax makes it possible to enter lines of text that can
- spread over multiple pages:
++An exhaustive list of music notation related commands can be found in
++@ref{Music}.
+
+
+@seealso
+Notation Reference:
+@ref{Music},
+@ref{The Feta font},
+@ref{Fonts explained}.
+
+Snippets:
+@rlsr{Text}.
+
+Internals Reference: @rinternals{TextScript}.
+
+Installed files:
+@file{scm/@/define@/-markup@/-commands@/.scm},
+@file{scm/@/fret@/-diagrams@/.scm},
+@file{scm/@/harp@/-pedals@/.scm}.
+
+
+@node Multi-page markup
+@unnumberedsubsubsec Multi-page markup
+
- @funindex \markuplines
++@cindex multi-page markup
++@cindex markup, multi-page
++@cindex markup text, multi-page
++@cindex text spread over multiple pages
++
++@funindex \markuplines
++@funindex markuplines
++@funindex \justified-lines
++@funindex justified-lines
++@funindex \wordwrap-lines
++@funindex wordwrap-lines
++
++Although standard markup objects are not breakable, a specific syntax
++makes it possible to enter lines of text that can spread over multiple
++pages:
+
+@lilypond[quote,verbatim]
+\markuplines {
+ \justified-lines {
+ A very long text of justified lines.
+ ...
+ }
+ \wordwrap-lines {
+ Another very long paragraph.
+ ...
+ }
+ ...
+}
+@end lilypond
+
+This syntax accepts a list of markups, that can be
+@itemize
+@item
+the result of a markup list command,
+@item
+a list of markups,
+@item
+a list of markup lists.
+@end itemize
+
+An exhaustive list of markup list commands can be found in
+@ref{Text markup list commands}.
+
+
+@seealso
+Notation Reference:
+@ref{Text markup list commands},
+@ref{New markup list command definition}.
+
+Snippets:
+@rlsr{Text}.
+
+Internals Reference: @rinternals{TextScript}.
+
+Installed files:
+@file{scm/@/define@/-markup@/-commands@/.scm}.
+
++@funindex \markuplines
++@funindex markuplines
+
+@predefined
- This section presents the way fonts are handled,
- and how they may be changed in scores.
+@code{\markuplines}.
+@endpredefined
+
+
+@node Fonts
+@subsection Fonts
+
- Fonts are handled through several libraries.
- FontConfig is used to detect available fonts on the system;
- the selected fonts are rendered using Pango.
++This section presents the way fonts are handled, and how they may be
++changed in scores.
+
+@menu
+* Fonts explained::
+* Single entry fonts::
+* Entire document fonts::
+@end menu
+
+@node Fonts explained
+@unnumberedsubsubsec Fonts explained
+
+@cindex Pango
+@cindex fonts, explained
+@cindex braces, various sizes
++@cindex fonts, non-text in markup
++@cindex non-text fonts in markup
++
+@funindex font-interface
+
- Music notation fonts can be described as a set of
- specific glyphs, ordered in several families.
- The following syntax allows various LilyPond @code{feta} non-text
- fonts to be used directly in markup mode:
++Fonts are handled through several libraries. FontConfig is used to
++detect available fonts on the system; the selected fonts are rendered
++using Pango.
+
- However, all these glyphs except the braces of various sizes
- contained in @code{fetaBraces} are available using the
- simpler syntax described in @ref{Music notation inside markup}.
++Music notation fonts can be described as a set of specific glyphs,
++ordered in several families. The following syntax allows various
++LilyPond @code{feta} non-text fonts to be used directly in markup
++mode:
+
+@lilypond[quote,verbatim,relative=2]
+a1^\markup {
+ \vcenter {
+ \override #'(font-encoding . fetaBraces)
+ \lookup #"brace120"
+ \override #'(font-encoding . fetaNumber)
+ \column { 1 3 }
+ \override #'(font-encoding . fetaDynamic)
+ sf
+ \override #'(font-encoding . fetaMusic)
+ \lookup #"noteheads.s0petrucci"
+ }
+}
+@end lilypond
+
+@noindent
- When using the glyphs contained in @code{fetaBraces}, the size of
- the brace is specified by the numerical part of the glyph name, in
++However, all these glyphs except the braces of various sizes contained
++in @code{fetaBraces} are available using the simpler syntax described
++in @ref{Music notation inside markup}.
+
- Three families of text fonts are made available: the
- @emph{roman} (serif) font, that defaults to New Century
- Schoolbook, the @emph{sans} font and the monospaced
- @emph{typewriter} font -- these last two families are
- determined by the Pango installation.
++When using the glyphs contained in @code{fetaBraces}, the size of the
++brace is specified by the numerical part of the glyph name, in
+arbitrary units. Any integer from @code{0} to @code{575} inclusive
+may be specified, @code{0} giving the smallest brace. The optimum
+value must be determined by trial and error. These glyphs are all
+left braces; right braces may be obtained by rotation, see
+@ref{Rotating objects}.
+
- Each family may include different shapes and series.
- The following example demonstrates the ability to select
- alternate families, shapes, series and sizes. The value
- supplied to @code{font-size} is the required change from the
- default size.
++Three families of text fonts are made available: the @emph{roman}
++(serif) font, that defaults to New Century Schoolbook, the @emph{sans}
++font and the monospaced @emph{typewriter} font -- these last two
++families are determined by the Pango installation.
+
- A similar syntax may be used in markup mode, however in this case
- it is preferable to use the simpler syntax explained in
- @ref{Selecting font and font size}:
++Each family may include different shapes and series. The following
++example demonstrates the ability to select alternate families, shapes,
++series and sizes. The value supplied to @code{font-size} is the
++required change from the default size.
+
+@lilypond[quote,verbatim,relative=2]
+\override Score.RehearsalMark #'font-family = #'typewriter
+\mark \markup "Ouverture"
+\override Voice.TextScript #'font-shape = #'italic
+\override Voice.TextScript #'font-series = #'bold
+d2.^\markup "Allegro"
+\override Voice.TextScript #'font-size = #-3
+c4^smaller
+@end lilypond
+
+@noindent
- Although it is easy to switch between preconfigured fonts,
- it is also possible to use other fonts, as explained in the
- following sections: @ref{Single entry fonts} and
- @ref{Entire document fonts}.
++A similar syntax may be used in markup mode; however in this case it
++is preferable to use the simpler syntax explained in @ref{Selecting
++font and font size}:
+
+@lilypond[quote,verbatim]
+\markup {
+ \column {
+ \line {
+ \override #'(font-shape . italic)
+ \override #'(font-size . 4)
+ Idomeneo,
+ }
+ \line {
+ \override #'(font-family . typewriter)
+ {
+ \override #'(font-series . bold)
+ re
+ di
+ }
+ \override #'(font-family . sans)
+ Creta
+ }
+ }
+}
+@end lilypond
+
- Any font that is installed on the operating system and recognized
- by FontConfig may be used in a score, using the following syntax:
++Although it is easy to switch between preconfigured fonts, it is also
++possible to use other fonts, as explained in the following sections:
++@ref{Single entry fonts} and @ref{Entire document fonts}.
+
+
+@seealso
+Notation Reference:
+@ref{The Feta font},
+@ref{Music notation inside markup},
+@ref{Selecting font and font size},
+@ref{Font}.
+
+
+@node Single entry fonts
+@unnumberedsubsubsec Single entry fonts
+
- The following command displays a list of all available fonts
- on the operating system:
++Any font that is installed on the operating system and recognized by
++FontConfig may be used in a score, using the following syntax:
+
+@lilypond[quote,verbatim,relative=2]
+\override Staff.TimeSignature #'font-name = #"Charter"
+\override Staff.TimeSignature #'font-size = #2
+\time 3/4
+
+a1_\markup {
+ \override #'(font-name . "Vera Bold")
+ { Vera Bold }
+}
+@end lilypond
+
++@cindex fonts, finding available
++@cindex finding available fonts
++@cindex listing available fonts
++@cindex available fonts, listing
++
+@funindex show-available-fonts
+
++The following command displays a list of all available fonts on the
++operating system:
+
+@example
+lilypond -dshow-available-fonts x
+@end example
+
+@noindent
+The last argument of the command can be anything, but has to be
+present.
+
+
+@seealso
+Notation Reference:
+@ref{Fonts explained},
+@ref{Entire document fonts}.
+
+Snippets:
+@rlsr{Text}.
+
+Installed files:
+@file{lily/@/font@/-config@/-scheme@/.cc}.
+
+
+@node Entire document fonts
+@unnumberedsubsubsec Entire document fonts
+
+It is possible to change the fonts to be used as the default fonts in
+the @emph{roman}, @emph{sans} and @emph{typewriter} font families by
+specifying them, in that order, as shown in the example below. For an
+explanation of fonts, see @ref{Fonts explained}.
+
+@cindex font families, setting
++@cindex fonts, changing for entire document
++
+@funindex make-pango-font-tree
+
+@lilypond[verbatim,quote]
+\paper {
+ myStaffSize = #20
+ #(define fonts
+ (make-pango-font-tree "Times New Roman"
+ "Nimbus Sans"
+ "Luxi Mono"
+ (/ myStaffSize 20)))
+}
+
+\relative c'{
+ c1-\markup {
+ roman,
+ \sans sans,
+ \typewriter typewriter. }
+}
+@end lilypond
+
+@c we don't do Helvetica / Courier, since GS incorrectly loads
+@c Apple TTF fonts
+
+
+@seealso
+Notation Reference:
+@ref{Fonts explained},
+@ref{Single entry fonts},
+@ref{Selecting font and font size},
+@ref{Font}.
+
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