~s-cecilio/lenmus/v5.3

msgid ""
msgstr ""
"Project-Id-Version: LenMus $VERS\n"
"Report-Msgid-Bugs-To: \n"
"POT-Creation-Date: 2012-09-09 16:17+0200\n"
"PO-Revision-Date: 2012-06-28 14:32+0100\n"
"Last-Translator: \n"
"Language-Team:  <cecilios@gmail.com>\n"
"Language: \n"
"MIME-Version: 1.0\n"
"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
"X-Poedit-Language: Galician\n"
"X-Poedit-SourceCharset: utf-8\n"
"X-Poedit-Basepath: ../src\n"
"X-Poedit-Country: SPAIN\n"
"X-Poedit-SearchPath-0: TheoryHarmony\n"

#: TheoryHarmony.cpp:227
msgid " - Aural training. Listen a scale and identify if it is major or minor."
msgstr ""

#: TheoryHarmony.cpp:262
msgid " - Aural training. Listen a scale and identify its type."
msgstr ""

#: TheoryHarmony.cpp:415
#, fuzzy
msgid ""
" - Aural training: identify the type of cadence: perfect, imperfect, plagal, "
"half or deceptive."
msgstr ""
"- Educación do oido. Identifica o tipo de cadencia: perfecta, imperfecta, "
"plagal, semicadencia ou rota."

#: TheoryHarmony.cpp:284
msgid ""
" - Identify the type of scale: major or minor natural. Key signature "
"displayed."
msgstr ""

#: TheoryHarmony.cpp:286
msgid ""
" - Identify the type of scale: major or minor natural. No key signature."
msgstr ""

#: TheoryHarmony.cpp:288
msgid ""
" - Identify the type of scale: major, minor natural, minor harmonic or minor "
"melodic. Key signature displayed."
msgstr ""

#: TheoryHarmony.cpp:290
msgid ""
" - Identify the type of scale: major, minor natural, minor harmonic or minor "
"melodic. No key signature."
msgstr ""

#: TheoryHarmony.cpp:279
msgid " - Listen a scale and identify if it is major or minor."
msgstr ""

#: TheoryHarmony.cpp:281
msgid ""
" - Listen a scale and identify if it is major, minor natural, minor melodic "
"or minor harmonic."
msgstr ""

#: TheoryHarmony.cpp:229 TheoryHarmony.cpp:264
msgid " - Theory. Identify the type of scale (key signature displayed)."
msgstr ""

#: TheoryHarmony.cpp:231 TheoryHarmony.cpp:266
msgid " - Theory. Identify the type of scale (key signature not displayed)."
msgstr ""

#: TheoryHarmony.cpp:417
#, fuzzy
msgid ""
" - Theory: identify the type of cadence: perfect, imperfect, plagal, half or "
"deceptive."
msgstr ""
"- Teoría. Identifica o tipo de cadencia: perfecta, imperfecta, plagal, "
"semicadencia ou rota."

#: TheoryHarmony.cpp:121
msgid "1st degree"
msgstr ""

#: TheoryHarmony.cpp:329
msgid "2nd"
msgstr ""

#: TheoryHarmony.cpp:124
msgid "2nd degree"
msgstr ""

#: TheoryHarmony.cpp:324
msgid "3rd"
msgstr ""

#: TheoryHarmony.cpp:127
msgid "3rd degree"
msgstr ""

#: TheoryHarmony.cpp:327
msgid "4th"
msgstr ""

#: TheoryHarmony.cpp:130
msgid "4th degree"
msgstr ""

#: TheoryHarmony.cpp:325
msgid "5th"
msgstr ""

#: TheoryHarmony.cpp:133
msgid "5th degree"
msgstr ""

#: TheoryHarmony.cpp:136
msgid "6th degree"
msgstr ""

#: TheoryHarmony.cpp:326 TheoryHarmony.cpp:343 TheoryHarmony.cpp:347
msgid "7th"
msgstr ""

#: TheoryHarmony.cpp:139
msgid "7th degree"
msgstr ""

#: TheoryHarmony.cpp:330
msgid "8ve"
msgstr ""

#: TheoryHarmony.cpp:338 TheoryHarmony.cpp:356
msgid ""
"<a-1>Aural training</a-1> - Listen two intervals and identify which one is "
"greater."
msgstr ""

#: TheoryHarmony.cpp:389
#, fuzzy
msgid ""
"<a-1>Aural training</a-1> - Train your ear and practise to identify if a "
"terminal cadence is authentic perfect or plagal."
msgstr "- Adestra o oido e identifica se unha cadencia é auténtica ou plagal."

#: TheoryHarmony.cpp:405
#, fuzzy
msgid ""
"<a-1>Aural training</a-1> - Train your ear and practise to identify if a "
"transient cadence is a half cadence or a deceptive cadence."
msgstr "Adestra o oido e identifica se unha cadencia é auténtica ou plagal."

#: TheoryHarmony.cpp:352
msgid "<a-1>Exercise</a-1> - Build intervals on a score."
msgstr ""

#: TheoryHarmony.cpp:337 TheoryHarmony.cpp:354
msgid "<a-1>Music reading</a-1> - Name the interval (as a number only)."
msgstr ""

#: TheoryHarmony.cpp:355
msgid "<a-1>Music writing</a-1> - Build intervals on a score."
msgstr ""

#: TheoryHarmony.cpp:388
#, fuzzy
msgid ""
"<a-1>Theory</a-1> - Practise to recognize in a score if a terminal cadence "
"is authentic perfect or plagal."
msgstr ""
"- Practica o recoñecemento sobre unha partitura de cadencias auténticas e "
"plagais."

#: TheoryHarmony.cpp:404
#, fuzzy
msgid ""
"<a-1>Theory</a-1> - Practise to recognize in a score if a transient cadence "
"is a half cadence or a deceptive one."
msgstr ""
"- Practica o recoñecemento, sobre unha partitura, de semicadencias e "
"cadencias rotas."

#: TheoryHarmony.cpp:251
msgid ""
"<b>Melodic</b> minor scales are a bit more complicated, because they have "
"one pattern on the way up, but another on the way down."
msgstr ""

#: TheoryHarmony.cpp:370
#, fuzzy
msgid ""
"<b>Terminal cadences</b>. They create a sensation of stability, rest and "
"ending of the musical phrase or sentence."
msgstr ""
"  . Caracterízanse por crear sensación de repouso e estabilidade, de final "
"dunha peza musical ou dunha frase. "

#: TheoryHarmony.cpp:371
#, fuzzy
msgid ""
"<b>Transient cadences</b>. They typically result in creating tension and a "
"sensation of unstablility, as well as an expectation of continuation."
msgstr ""
". Caracterízanse por crear inestabilidade, tensión e necesidade de "
"continuación."

#: TheoryHarmony.cpp:158 TheoryHarmony.cpp:163 TheoryHarmony.cpp:175
#: TheoryHarmony.cpp:182
msgid "A"
msgstr ""

#: TheoryHarmony.cpp:58
msgid ""
"A chromatic scale has the twelve notes, and each step of the scale is a "
"semitone. Let's return to the piano keyboard. If you start on a C key and "
"play every available key, black and white, until you arrive at the next C, "
"you have played a chromatic scale:"
msgstr ""

#: TheoryHarmony.cpp:12
#, fuzzy
msgid "A collection of lessons and exercises on music theory."
msgstr ""
"Unha colección non estruturada de temas e leccións sobre teoría musical."

#: TheoryHarmony.cpp:401
msgid ""
"A deceptive cadence occurs when a V chord does not resolve to a I chord, as "
"the ear is expecting, but instead resolves to any other chord, typically to "
"one containing the tonic pitch (the VI or the IV degrees)."
msgstr ""
"A cadencia rota iníciase como a cadencia auténtica pero no canto de "
"finalizar no acorde de tónica, substitúese este por un inesperado, "
"xeralmente VI, o IV ou calquera grado que conteña á nota tónica."

#: TheoryHarmony.cpp:69
msgid ""
"A diatonic scale has seven notes but are usually played and written in "
"groups of eight notes, so that they sound finished. The 8th note is the same "
"as the 1st note, but an octave higher or lower. And the first seven notes "
"<b>must have</b> different letter name, A-G."
msgstr ""

#: TheoryHarmony.cpp:306
msgid "A great step in studying something is understanding its purpose."
msgstr ""

#: TheoryHarmony.cpp:397
msgid ""
"A half cadence takes place when the harmony moves to the V degree (dominant) "
"from any other degree, except the tonic (I). The ending on V causes it to "
"sound incomplete or 'suspended' due to the unstableness of the dominant "
"chord. It is considered as the weakest cadence and cannot be used to end a "
"musical phrase."
msgstr ""
"Prodúcese cando a harmonía móvese ata o V grado (Dominante) chegando desde "
"calquera grado da escala, fóra diso a tónica (grado I).A sensación de 'non "
"conclusión' que a cadencia crea débese ao feito de terminar no V grado, pola "
"inestabilidade que ten o acorde de dominante. A semicadencia é considerada "
"como a cadencia máis débil e non pode utilizarse para finalizar unha frase "
"musical."

#: TheoryHarmony.cpp:398
msgid ""
"A particular case of the half cadence is the Phrygian half cadence. It "
"consists of a IV chord in first inversion that resolves to a V (or V7) chord "
"in root position. It only occurs in minor keys (the IV is minor) and was "
"widely used during the Baroque period to end a slow musical movement in "
"minor mode, continued by a fast movement in major mode."
msgstr ""
"Un caso especial desta cadencia é a cadencia frixia. Consiste nun acorde de "
"IV, en primeiro investimento, que resolve sobre o de dominante (V) . Só é "
"posible en tonalidades menores (o IV grado é un acorde menor). Esta cadencia "
"foi usada profusamente no Barroco para finalizar un movemento ou introdución "
"lentos en modo menor, ao que continúa un movemento rápido, preferentemente "
"en modo maior."

#: TheoryHarmony.cpp:385
#, fuzzy
msgid ""
"A plagal cadence takes place when grade IV (subdominant) resolves in grade I "
"(tonic), both in root position. The plagal cadence is less strong than the "
"authentic cadence and it is also known as the 'Amen' cadence as it is used "
"at the end of most church hymns."
msgstr ""
"Prodúcese enlazando o IV (Subdominante) e o I (Tónica), ambos grados en "
"estado fundamental. É menos tensa que a cadencia auténtica. Tamén coñécese "
"como a cadencia 'Amén', por ser esta a cadencia típica dos himnos "
"eclesiásticos."

#: TheoryHarmony.cpp:193
msgid ""
"A scale starts with the note that names the key, the tonic. This note is the "
"<b>tonal center</b> of that key, the note where music in that key feels 'at "
"rest'. For example, music in the key of A major almost always ends on an A "
"major chord, the chord built on the note A. It often also begins on that "
"chord, returns to that chord often, and features a melody and a bass line "
"that also return to the note A often enough that listeners will know where "
"the tonal center of the music is, even if they don't realize that they know "
"it. You will learn about this in more advanced lessons."
msgstr ""

#: TheoryHarmony.cpp:47
msgid ""
"A scale, from latin word 'scala' meaning 'ladder', is a predefined series of "
"notes going up (ascending) or down (descending). People in different musical "
"traditions have different ideas about what notes they think sound best "
"together. In the Western musical tradition - which includes most familiar "
"music from Europe and the Americas - the octave is divided up into twelve "
"equally spaced notes. Other musical traditions - traditional Chinese music "
"for example - have divided the octave differently and so they use different "
"scales."
msgstr ""

#: TheoryHarmony.cpp:418 TheoryHarmony.cpp:420
msgid "All cadences"
msgstr "Todas as cadencias"

#: TheoryHarmony.cpp:39
msgid ""
"All other texts, book design and preparation by Cecilio Salmerón. Licensed "
"under Creative Commons Attribution-Share-Alike License 3.0."
msgstr ""

#: TheoryHarmony.cpp:71
msgid ""
"Altough they sound equal, the first one, A, B, C, D, E, F, G# and A, is a "
"correct scale as all note names are different, but the second one, A, B, C, "
"D, E, F, Ab, A is <b>not</b> a correct scale, because the letter name A has "
"been used twice: once as A flat and once as A natural. (Even though you "
"might think that G# and Ab are the same note, they aren't, as you will learn "
"in more advanced levels!)"
msgstr ""

#: TheoryHarmony.cpp:376
msgid ""
"An authentic cadence takes place when grade V, dominant, (or V7, a V chord "
"with an added seventh) resolves in grade I (tonic). The authentic cadence is "
"the strongest terminal cadence, with great conclusive power."
msgstr ""
"Prodúcese enlazando o V ó V7 (Dominante) e o I (Tónica), ambos grados en "
"estado fundamental. É a cadencia con maior poder conclusivo. A cadencia "
"auténtica pode verse ampliada antepoñendo o IV (Subdominante) ao acorde de "
"Dominante (con ou sen sétima), esta cadencia chámase composta. Cando a voz "
"superior non vai á tónica, o poder conclusivo desta cadencia queda reducido."

#: TheoryHarmony.cpp:311
msgid ""
"An interval is the distance between two notes, measured as a number. "
"Intervals are named by the number of steps between the two notes. When we "
"measure an interval, we always start counting at the lower note. We then "
"count upwards to the higher note. Consider the following example:"
msgstr ""

#: TheoryHarmony.cpp:214
msgid "And now in A minor"
msgstr ""

#: TheoryHarmony.cpp:190
msgid "And now in D Major"
msgstr ""

#: TheoryHarmony.cpp:246
msgid "And now let's look at A minor harmonic descending (going down):"
msgstr ""

#: TheoryHarmony.cpp:399
msgid ""
"Another very specific case is the Andalusian cadence. It only occurs in "
"minor keys and is given by the progression I-VII-VI-V, where the VI degree "
"can be replaced. This cadence has a particular colour due to the chromatic "
"half step between the root of the VII and the third of the V."
msgstr ""
"Outro caso moi particular é a cadencia andaluza. Dáse só nas tonalidades "
"menores e consiste na progresión I-VII-VI-V, onde o grado VI pode reemplarse "
"por outros. O colorido particular outórgao o semitón cromático que se "
"produce entre a nota fundamental do VII e a terceira do V."

#: TheoryHarmony.cpp:372
msgid ""
"As an exercise you will hear a cadence and based on the sensation it "
"provokes, try to identify if the cadence is terminal or transient."
msgstr ""
"Como exercicio de educación do oido escoita unha cadencia e trata de acertar "
"se é conclusiva ou suspensiva. Para iso, baséate só na sensación que "
"percibas ao escoitala."

#: TheoryHarmony.cpp:206
msgid ""
"As with major scales, minor scales also share a common pattern of tones and "
"semitones. Let's use again the piano keyboard and play all note names along "
"one octave, but now starting on A. We will get the notes A-B-C-D-E-F-G-A-B:"
msgstr ""

#: TheoryHarmony.cpp:247
msgid "As you can see, it's exactly the same notes, but in reverse order."
msgstr ""

#: TheoryHarmony.cpp:254
msgid ""
"As you can see, the descending scale is not just a back-to-front ascending "
"scale, (as it was in the harmonic scale). The top end of the melodic scale "
"uses a completely different pattern. The very top note will always be the "
"tonic (keynote) of the scale, but the two notes just below it are the ones "
"which change, depending on which direction you're going in."
msgstr ""

#: TheoryHarmony.cpp:115
msgid "Ascending and descending"
msgstr ""

#: TheoryHarmony.cpp:331
msgid ""
"At first you may need to count the notes to determine the interval size but "
"with practise you will learn to determine the intervals at first sight."
msgstr ""

#: TheoryHarmony.cpp:277
msgid "Aural training exercises"
msgstr ""

#: TheoryHarmony.cpp:393
msgid ""
"Aural training: Identify if a terminal cadence is authentic perfect or "
"plagal."
msgstr ""
"Educación do oido: Identifica se unha cadencia conclusiva é perfecta ou "
"plagal."

#: TheoryHarmony.cpp:409
msgid ""
"Aural training: Identify if a transient cadence is a half cadence or a "
"deceptive cadence."
msgstr ""
"Educación do oído: Practica o recoñecemento, sobre unha partitura, de "
"semicadencias e cadencias rotas."

#: TheoryHarmony.cpp:235
msgid "Aural training: Listen a scale and identify if it is major or minor"
msgstr ""

#: TheoryHarmony.cpp:270 TheoryHarmony.cpp:292 TheoryHarmony.cpp:294
msgid "Aural training: Listen a scale and identify its type"
msgstr ""

#: TheoryHarmony.cpp:419
msgid "Aural training: identify the type of cadence."
msgstr "- Educación do oido: identifica o tipo de cadencia."

#: TheoryHarmony.cpp:390 TheoryHarmony.cpp:392
msgid "Authentic and plagal cadences"
msgstr "Cadencias auténticas e plagais"

#: TheoryHarmony.cpp:375
msgid "Authentic cadences"
msgstr "Cadencia auténtica"

#: TheoryHarmony.cpp:159 TheoryHarmony.cpp:164 TheoryHarmony.cpp:176
msgid "B"
msgstr ""

#: TheoryHarmony.cpp:318
msgid "B-D as a harmonic (vertical) interval"
msgstr ""

#: TheoryHarmony.cpp:317
msgid "B-D as a melodic (horizontal) interval"
msgstr ""

#: TheoryHarmony.cpp:183
msgid "Bb"
msgstr ""

#: TheoryHarmony.cpp:97
msgid "Building a major scale"
msgstr ""

#: TheoryHarmony.cpp:308
msgid ""
"But even if you are not interested on harmony and on theory about music, "
"understanding intervals and being able to quickly and accurately recognize "
"them is vital for reading and singing a score accurately. Also, it is "
"essential for music dictation (writing the music you hear)."
msgstr ""

#: TheoryHarmony.cpp:153 TheoryHarmony.cpp:160 TheoryHarmony.cpp:165
#: TheoryHarmony.cpp:184
msgid "C"
msgstr ""

#: TheoryHarmony.cpp:152
msgid "C Major"
msgstr ""

#: TheoryHarmony.cpp:221
msgid "C major scale"
msgstr ""

#: TheoryHarmony.cpp:210 TheoryHarmony.cpp:222
msgid "C minor scale"
msgstr ""

#: TheoryHarmony.cpp:177
msgid "C#"
msgstr ""

#: TheoryHarmony.cpp:368
msgid "Cadence types"
msgstr "Tipos de cadencia"

#: TheoryHarmony.cpp:29 TheoryHarmony.cpp:362 TheoryHarmony.cpp:363
msgid "Cadences"
msgstr "Cadencias"

#: TheoryHarmony.cpp:33
msgid ""
"Cadences\n"
"<ul>\n"
"<li> <a-3>Cadences</a-3></li>\n"
"<li> <a-5>Terminal cadences</a-5></li>\n"
"<li> <a-7>Transient cadences</a-7></li>\n"
"<li> <a-9>Exercises on cadences</a-9></li>\n"
"</ul>"
msgstr ""

#: TheoryHarmony.cpp:367
msgid ""
"Cadences are not difficult to recognize by ear but it is sometimes harder to "
"recognize them in written music."
msgstr ""
"Cando se inicia o estudo das cadencias, o recoñecemento auditivo adoita "
"resultar máis sinxelo que o seu recoñecemento escrito, sobre unha partitura. "
"Naturalmente, profundizar no recoñecemento das cadencias, sexa a nivel "
"teórico-escrito ou auditivo, requiere unha base teórica e práctica."

#: TheoryHarmony.cpp:204
msgid ""
"Catherine Schmidt-Jones, 'Major Keys and Scales', Connexions, December 16, "
"2009, <a-1>http://cnx.org/content/m10851/2.22/</a-1>. Her work is licensed "
"under a Creative Commons Attribution License (CC-BY 1.0)."
msgstr ""

#: TheoryHarmony.cpp:233 TheoryHarmony.cpp:268
msgid ""
"Catherine Schmidt-Jones, 'Minor Keys and Scales', Connexions, December 16, "
"2009, <a-1>http://cnx.org/content/m10856/2.19/</a-1>. Her work is licensed "
"under a Creative Commons Attribution License (CC-BY 1.0)."
msgstr ""

#: TheoryHarmony.cpp:57
msgid "Chromatic scales"
msgstr ""

#: TheoryHarmony.cpp:196
msgid "Common Errors when writing a scale"
msgstr ""

#: TheoryHarmony.cpp:213
msgid ""
"Compare again the tune 'Row, Row, Row Your Boat', written in C major and in "
"A minor. First in C major:"
msgstr ""

#: TheoryHarmony.cpp:220
msgid "Compare these three scales:"
msgstr ""

#: TheoryHarmony.cpp:40
msgid "Copyright"
msgstr ""

#: TheoryHarmony.cpp:41
msgid "Copyright © 2007-2010 LenMus project"
msgstr ""

#: TheoryHarmony.cpp:5
msgid ""
"Copyright © 2007-2012 myMusicTheory & LenMus project. All rights reserved."
msgstr ""

#: TheoryHarmony.cpp:7
msgid "Cover page"
msgstr "Portada"

#: TheoryHarmony.cpp:35
msgid "Credits"
msgstr ""

#: TheoryHarmony.cpp:34
msgid "Credits and Copyrights"
msgstr ""

#: TheoryHarmony.cpp:19
msgid "Credits and copyrights"
msgstr ""

#: TheoryHarmony.cpp:154 TheoryHarmony.cpp:166 TheoryHarmony.cpp:171
#: TheoryHarmony.cpp:178 TheoryHarmony.cpp:185
msgid "D"
msgstr ""

#: TheoryHarmony.cpp:108 TheoryHarmony.cpp:170
msgid "D Major"
msgstr ""

#: TheoryHarmony.cpp:110
msgid "D major has two sharps - F sharp and C sharp."
msgstr ""

#: TheoryHarmony.cpp:406 TheoryHarmony.cpp:408
msgid "Deceptive and half cadences"
msgstr "Semicadencias e cadencias rotas"

#: TheoryHarmony.cpp:400
msgid "Deceptive cadences"
msgstr "Cadencia rota ou interrompida"

#: TheoryHarmony.cpp:118
msgid "Degrees of the scale"
msgstr ""

#: TheoryHarmony.cpp:369
msgid ""
"Depending on the sensation they create, cadences are classified in two "
"fundamental types:"
msgstr ""
"Dependendo da sensación que crean no oínte, as cadencias clasifícanse en "
"dous grupos principais:"

#: TheoryHarmony.cpp:64
msgid "Diatonic Scales"
msgstr ""

#: TheoryHarmony.cpp:63
msgid "Diatonic scales"
msgstr ""

#: TheoryHarmony.cpp:21
msgid "Diatonic scales. Tonal center"
msgstr ""

#: TheoryHarmony.cpp:135
msgid "Dominant"
msgstr ""

#: TheoryHarmony.cpp:346
msgid ""
"Don't forget that we were told to write a melodic interval, so in this case "
"we will write the E after the F, and not directly above it:"
msgstr ""

#: TheoryHarmony.cpp:348
msgid ""
"Don't forget to look carefully at the clef, to place the note in the right "
"line or space!."
msgstr ""

#: TheoryHarmony.cpp:155 TheoryHarmony.cpp:167 TheoryHarmony.cpp:172
#: TheoryHarmony.cpp:186
msgid "E"
msgstr ""

#: TheoryHarmony.cpp:223
msgid "E flat major scale"
msgstr ""

#: TheoryHarmony.cpp:104
msgid ""
"E major has four sharps - F sharp, C shrap. G sharp and D sharp. You might "
"be wondering why we choose, for instance, F sharp and not G flat, since they "
"are the same note on the piano. Remember that in diatonic scales we use each "
"note name <b>once only</b>, except for the first and last notes which must "
"have the same letter. E major must start and end on <b>E</b>, so we startted "
"with that letter. The next note we need to use is F so we used F sharp. If "
"we had used G flat, F would have not be used in the scale."
msgstr ""

#: TheoryHarmony.cpp:81
msgid "E-F sharp is a tone. F natural sits between them."
msgstr ""

#: TheoryHarmony.cpp:226 TheoryHarmony.cpp:261 TheoryHarmony.cpp:278
#: TheoryHarmony.cpp:414
msgid "Exercise 1"
msgstr ""

#: TheoryHarmony.cpp:228 TheoryHarmony.cpp:263 TheoryHarmony.cpp:280
#: TheoryHarmony.cpp:416
msgid "Exercise 2"
msgstr ""

#: TheoryHarmony.cpp:230 TheoryHarmony.cpp:265 TheoryHarmony.cpp:283
msgid "Exercise 3"
msgstr ""

#: TheoryHarmony.cpp:285
#, fuzzy
msgid "Exercise 4"
msgstr "Exercicios"

#: TheoryHarmony.cpp:287
#, fuzzy
msgid "Exercise 5"
msgstr "Exercicios"

#: TheoryHarmony.cpp:289
#, fuzzy
msgid "Exercise 6"
msgstr "Exercicios"

#: TheoryHarmony.cpp:360
msgid "Exercise: Listen two intervals and identify which one is greater"
msgstr ""

#: TheoryHarmony.cpp:25 TheoryHarmony.cpp:225 TheoryHarmony.cpp:260
#: TheoryHarmony.cpp:336 TheoryHarmony.cpp:387 TheoryHarmony.cpp:403
#: TheoryHarmony.cpp:413
msgid "Exercises"
msgstr "Exercicios"

#: TheoryHarmony.cpp:353
#, fuzzy
msgid "Exercises in this lesson"
msgstr "Exercicios de cadencias"

#: TheoryHarmony.cpp:32 TheoryHarmony.cpp:410
msgid "Exercises on cadences"
msgstr "Exercicios de cadencias"

#: TheoryHarmony.cpp:275
msgid "Exercises on scales"
msgstr ""

#: TheoryHarmony.cpp:156 TheoryHarmony.cpp:180 TheoryHarmony.cpp:187
msgid "F"
msgstr ""

#: TheoryHarmony.cpp:179
msgid "F Major"
msgstr ""

#: TheoryHarmony.cpp:82
msgid "F is between these two notes"
msgstr ""

#: TheoryHarmony.cpp:111
msgid "F major"
msgstr ""

#: TheoryHarmony.cpp:113
msgid "F major doesn't have any sharps, but it has one flat - B flat."
msgstr ""

#: TheoryHarmony.cpp:168 TheoryHarmony.cpp:173
msgid "F#"
msgstr ""

#: TheoryHarmony.cpp:53
msgid ""
"Find E and F on the piano keyboard. The distance between E and F is a "
"semitone; it's not possible to squeeze another note in between them, because "
"there is nothing between them on the piano keyboard."
msgstr ""

#: TheoryHarmony.cpp:79
msgid ""
"Find G and A on the keyboard. G-A is a tone. We can squeeze a G sharp/A flat "
"between them (there is a black key between them)"
msgstr ""

#: TheoryHarmony.cpp:334
msgid ""
"First, the correct way: starting on the lower note (C), we count letter "
"names to the higher note, (G), C-D-E-F-G =5, which gives us a 5th. This is "
"the right answer!"
msgstr ""

#: TheoryHarmony.cpp:341
msgid ""
"First, you need to work out which notes you have to write, and secondly you "
"need to write the notes clearly and accurately."
msgstr ""

#: TheoryHarmony.cpp:218
msgid ""
"For each major scale there is minor natural scale having the same notes and "
"sharing the same accidentals in the key signature. This minor scale is "
"called the the <b>relative minor</b> of the major sacle. We've seen an "
"example with C major and A minor. A minor key is called the relative minor "
"of C major."
msgstr ""

#: TheoryHarmony.cpp:276
msgid ""
"For your convenience, in this lesson you have all the exercises included in "
"previous lessons on scales."
msgstr ""

#: TheoryHarmony.cpp:157 TheoryHarmony.cpp:162 TheoryHarmony.cpp:169
#: TheoryHarmony.cpp:174 TheoryHarmony.cpp:181
msgid "G"
msgstr ""

#: TheoryHarmony.cpp:105 TheoryHarmony.cpp:161
msgid "G Major"
msgstr ""

#: TheoryHarmony.cpp:107
msgid "G major has one sharp - F sharp."
msgstr ""

#: TheoryHarmony.cpp:80
msgid "G# / Ab is between these two notes"
msgstr ""

#: TheoryHarmony.cpp:396
msgid "Half cadences"
msgstr "Semicadencia"

#: TheoryHarmony.cpp:24 TheoryHarmony.cpp:240
msgid "Harmonic and melodic minor scales"
msgstr ""

#: TheoryHarmony.cpp:90
msgid "Here are two more examples, the G major and F# major scales:"
msgstr ""

#: TheoryHarmony.cpp:60
msgid "Here is an ascending chromatic scale starting on B flat:"
msgstr ""

#: TheoryHarmony.cpp:209
msgid ""
"Here you have more examples of minor natural scales. Take paper and pencil, "
"copy those escales, and find the pattern of tones and semitones."
msgstr ""

#: TheoryHarmony.cpp:253
msgid ""
"Here's A minor melodic, ascending and descending. Click the play button and "
"concentrate on the notes in red -- they're the ones which change on the way "
"down."
msgstr ""

#: TheoryHarmony.cpp:143
msgid "Here's a summary of the notes of the scales of C, D, G and F major:"
msgstr ""

#: TheoryHarmony.cpp:117
msgid "Here's an example of F major descending, using the bass clef."
msgstr ""

#: TheoryHarmony.cpp:312
msgid ""
"Here, we start counting on the lower note, which is C. We count upwards to "
"the higher note, E. This gives us C, D and E. We counted three notes, so "
"this interval is called a third."
msgstr ""

#: TheoryHarmony.cpp:103
msgid ""
"Hopefully by now you've got the idea, so here are the rest of the notes of "
"the E major scale:"
msgstr ""

#: TheoryHarmony.cpp:195
msgid ""
"How are these moods produced? Music in a particular key tends to use only "
"some of the many possible notes available; these notes are listed in the "
"scale associated with that key. In major keys, the notes of the scale are "
"often used to build 'bright' -sounding major chords. They also give a strong "
"feeling of having a tonal center, a note or chord that feels like 'home', or "
"'the resting place', in that key. The 'bright' -sounding major chords and "
"the strong feeling of tonality are what give major keys their happy, "
"pleasant moods. This contrasts with the moods usually suggested by music "
"that uses minor keys, scales, and chords, as you will see in next lesson. "
"Although it also has a strong tonal center (the Western tradition of tonal "
"harmony is based on major and minor keys and scales), music in a minor key "
"is more likely to sound sad, ominous, or mysterious. In fact, most "
"musicians, and even many non-musicians, can distinguish major and minor keys "
"just by listening to the music."
msgstr ""

#: TheoryHarmony.cpp:122
msgid "I"
msgstr ""

#: TheoryHarmony.cpp:144
msgid "I (1st)"
msgstr ""

#: TheoryHarmony.cpp:151
msgid "I (Octave)"
msgstr ""

#: TheoryHarmony.cpp:125 TheoryHarmony.cpp:145
msgid "II"
msgstr ""

#: TheoryHarmony.cpp:128 TheoryHarmony.cpp:146
msgid "III"
msgstr ""

#: TheoryHarmony.cpp:131 TheoryHarmony.cpp:147
msgid "IV"
msgstr ""

#: TheoryHarmony.cpp:78
msgid ""
"If in the piano keyboard there is one note between the two notes we are "
"looking at, the distance between those two notes is a tone. In the following "
"picture I have coloured pairs of notes whose distance is a tone."
msgstr ""

#: TheoryHarmony.cpp:52
msgid ""
"If two notes are as close as possible on the piano keyboard (two "
"neighbouring keys, whatever colour, black or white), we call the distance "
"between them a <b>semitone</b>. In the following picture I have coloured "
"pairs of notes whose distance is a semitone."
msgstr ""

#: TheoryHarmony.cpp:313
msgid ""
"If we count four notes, the interval is a fourth, and so on, until we reach "
"eight. If we count eight notes the interval is called an <b>octave</b>."
msgstr ""

#: TheoryHarmony.cpp:87
msgid ""
"If we look again at the C major scale, we will see the following pattern of "
"tones and semitones (T=tone and S=semitone):"
msgstr ""

#: TheoryHarmony.cpp:307
msgid ""
"If you are interested in harmony and composition, you should know that "
"intervals are the building blocks of harmony: you will not be able to "
"understand harmony without studying about intervals."
msgstr ""

#: TheoryHarmony.cpp:197
msgid ""
"If you have an examination, you might be asked to write any scale, ascending "
"or descending, either with a key signature or using accidentals. Here are "
"some common <b>mistakes</b>: make sure you don't make them!"
msgstr ""

#: TheoryHarmony.cpp:342
msgid ""
"If you have to write an interval, you will be given the first (lower) note "
"of the two, and you will be told what interval to calculate; something like "
"this:"
msgstr ""

#: TheoryHarmony.cpp:46
msgid ""
"If you're learning an instrument you've probably played some scales already, "
"but you might have learnt to play them without thinking about the actual "
"notes, (your fingers do the thinking!). But to understand music and learn "
"about harmony you need to know the scales and how they are built."
msgstr ""

#: TheoryHarmony.cpp:96
msgid ""
"If you've ever wondered why we need notes like E sharp when F seems to be "
"the same note, you'll see that we need them in keys like F sharp major!"
msgstr ""

#: TheoryHarmony.cpp:386
msgid ""
"In both cadence types, authentic and plagal, other chords playing the same "
"harmonic functions can be used. For example, in the authentic cadence the V "
"(dominant function) can be played by the VII. And in the plagal cadence the "
"IV (subdominant function) can be played by the II. These replacements add "
"variety and harmonic colour to the cadence."
msgstr ""
"Para ambos tipos de cadencias, auténticas e plagales, débese ter en conta "
"que poden utilizarse outros acordes que realicen a mesma función armónica "
"que aquel ao que substitúen. Por exemplo, na cadencia auténtica, a función "
"do V (Dominante) pode ser levada a cabo polo VII; e na cadencia plgal, a "
"función do IV (Subdominante) pode ser levada a cabo por outros acordes, "
"fundamentalmente o II. Estas sustituciónss fanse para obter variedade e "
"colorido armónico."

#: TheoryHarmony.cpp:89
msgid ""
"In fact, all major scales follow the same pattern, so try to <b>remember it!"
"</b> (tip: it is the pattern of white keys on the piano keyboard, starting "
"on C)."
msgstr ""

#: TheoryHarmony.cpp:86
msgid ""
"In fact, what we need to know is the distance between each of the notes in "
"the scale, measured in tones and semitones. Let's use again the piano "
"keyboard:"
msgstr ""

#: TheoryHarmony.cpp:364
msgid ""
"In music, the term 'cadence' has several meanings. In harmony we are going "
"to refer to a particular sequence of usually two chords whose function it is "
"to create a sensation of either stability, rest and ending, or of pause, "
"tension and unstablility. Cadences have a function similar to that of "
"punctuation marks (comma, period, etc.) in written language: they mark "
"breathing places and pauses in music, they serve to structure the musical "
"phrases and they also help to establish tonality. Listen for example to the "
"following three chords:"
msgstr ""
"Musicalmente, o término 'cadencia' pode significar varias cousas. En "
"harmonía, o uso que imos facer del é dunha fórmula ou secuencia harmónica ou "
"melódica, máis ou menos estandarizada, de dúas ou máis acordes. A cadencia "
"ten unha función análoga aos signos de puntuación (coma, punto, punto e "
"coma, etc.) na linguaxe, é dicir, serve para articular o discurso musical, "
"creando puntos de repouso e suspensión que fan posible entendelo. Tamén "
"axuda a establecer a tonalidad. Por exemplo, escoita os seguintes tres "
"acordes:"

#: TheoryHarmony.cpp:84
msgid ""
"In the C major scale, both the first and the last notes are Cs, but how do "
"we know what the in-between notes are?"
msgstr ""

#: TheoryHarmony.cpp:259
msgid ""
"In the melodic minor scale, the sixth and seventh notes of the scale are "
"each raised by one half step when going up the scale, but return to the "
"natural minor when going down the scale. Melodies in minor keys very often "
"use this particular pattern of accidentals, so you will find very useful to "
"practice melodic minor scales in your instrument."
msgstr ""

#: TheoryHarmony.cpp:412
msgid ""
"In this theme we just propose you some additional exercises to identify "
"cadences, both aurally and in written music."
msgstr ""
"Nesta lección propoñémosche exercicios adicionais de identificación de "
"cadencias, tanto en partituras como de oido."

#: TheoryHarmony.cpp:320
msgid "Interval Numbers"
msgstr ""

#: TheoryHarmony.cpp:303
msgid "Intervals"
msgstr ""

#: TheoryHarmony.cpp:28
msgid ""
"Intervals\n"
"<ul>\n"
"<li> <a-3>What is an interval?</a-3></li>\n"
"</ul>"
msgstr ""

#: TheoryHarmony.cpp:359
msgid "Intervals' comparison"
msgstr ""

#: TheoryHarmony.cpp:120
msgid ""
"It is customary to refer to the scale degrees by Roman numerals as well as "
"by name. You already know that the first note, the one that gives name to "
"the scale, is called 'the tonic'. The other notes are named as follows:"
msgstr ""

#: TheoryHarmony.cpp:219
msgid ""
"It is easy to predict where the relative minor of a major key can be found. "
"Notice that the pattern for minor scales overlaps the pattern for major "
"scales. In other words, they are the same pattern starting in a different "
"place. (If the patterns were very different, minor key signatures would not "
"be the same as major key signatures.) The pattern for the minor scale starts "
"a half step plus a whole step lower than the major scale pattern, so <b>a "
"relative minor is always three half steps lower than its relative major</b>. "
"For example, C minor has the same key signature as E flat major, since E "
"flat is a minor third higher than C."
msgstr ""

#: TheoryHarmony.cpp:207
msgid ""
"It is the scale of <b>A minor natural</b>. If we analyze it we will find the "
"following pattern of tones and semitones (T=tone and S=semitone):"
msgstr ""

#: TheoryHarmony.cpp:68
msgid ""
"It is the scale of <b>C major</b>, and it is an example of a diatonic scale. "
"Most of the scales you will have played up to now will have been diatonic "
"scales. They are the most common type of scale in Western classical music."
msgstr ""

#: TheoryHarmony.cpp:141
msgid "Leading note"
msgstr ""

#: TheoryHarmony.cpp:357
msgid ""
"Lesson based on materials from <a-1>www.mymusictheory.com</a-1>. Copyright "
"(c) Victoria K. Williams. Used here with her permission."
msgstr ""

#: TheoryHarmony.cpp:109
msgid "Let's look at D major next:"
msgstr ""

#: TheoryHarmony.cpp:248
msgid ""
"Let's look at two other examples: E minor harmonic and D minor harmonic. "
"Look carefully at how many semitones there are between each note."
msgstr ""

#: TheoryHarmony.cpp:67
msgid ""
"Let's play all note names along one octave, starting on C. We will get the "
"notes C-D-E-F-G-B-A-C:"
msgstr ""

#: TheoryHarmony.cpp:255
msgid "Let's see two more exaples, E minor melodic and D minor melodic:"
msgstr ""

#: TheoryHarmony.cpp:245
msgid ""
"Let's start by building a scale of A minor harmonic ascending (going up):"
msgstr ""

#: TheoryHarmony.cpp:48
msgid ""
"Let's start learning about the 'bricks' for building scales: <b>tones</b> "
"and <b>semitones</b>."
msgstr ""

#: TheoryHarmony.cpp:249
msgid ""
"Let's write again the E minor harmonic and D minor harmonic but using key "
"signatures. It's easy to see that <b>the harmonic minor scale raises the "
"seventh note of the natural scale by one half step</b>:"
msgstr ""

#: TheoryHarmony.cpp:256
msgid ""
"Let's write again the E minor melodic and D minor melodic but using key "
"signatures. It's easy to see that <b>the sixth and seventh notes of the "
"scale are each raised by one half step when going up the scale, but return "
"to the natural minor when going down the scale</b>:"
msgstr ""

#: TheoryHarmony.cpp:94
msgid "Let's write again the G Major and F# Major but using key signatures:"
msgstr ""

#: TheoryHarmony.cpp:3
msgid "Licensed under the Creative Commons Attribution/Share-Alike License;"
msgstr ""

#: TheoryHarmony.cpp:191
msgid ""
"Listen to this tune in G major and in D major. The music may look quite "
"different, but the only difference when you listen is that one sounds higher "
"than the other. So why bother with different keys at all? Before equal "
"temperament became the standard tuning system, major keys sounded more "
"different from each other than they do now. Even now, there are subtle "
"differences between the sound of a piece in one key or another, mostly "
"because of differences in the timbre of various notes on the instruments or "
"voices involved. But today the most common reason to choose a particular key "
"is simply that the music is easiest to sing or play in that key."
msgstr ""

#: TheoryHarmony.cpp:83
msgid "Major Scales"
msgstr ""

#: TheoryHarmony.cpp:129
msgid "Mediant"
msgstr ""

#: TheoryHarmony.cpp:314
msgid "Melodic and Harmonic Intervals"
msgstr ""

#: TheoryHarmony.cpp:319
msgid ""
"Melodic intervals are read horizontally and are found in melodies, whereas "
"harmonic intervals are read vertically, and are found in chords. But, in any "
"case, they are measured and named in the same way."
msgstr ""

#: TheoryHarmony.cpp:243
msgid "Minor harmonic scales"
msgstr ""

#: TheoryHarmony.cpp:250
msgid "Minor melodic scales"
msgstr ""

#: TheoryHarmony.cpp:23 TheoryHarmony.cpp:205
msgid "Minor natural scales"
msgstr ""

#: TheoryHarmony.cpp:188
msgid "Music in different major keys"
msgstr ""

#: TheoryHarmony.cpp:211
msgid "Music in minor keys"
msgstr ""

#: TheoryHarmony.cpp:212
msgid ""
"Music in minor keys has a different sound and emotional feel than music that "
"is in a major key. Music in a major key sounds bright and cheerful while "
"music that is in a minor key is sometimes described as sounding more solemn, "
"sad, mysterious, or ominous."
msgstr ""

#: TheoryHarmony.cpp:258
msgid ""
"Music in minor keys is usually described as sad, mysterious, solemn, or "
"ominous. When using the minor natural scale the music has also and ancient "
"sound, like medieval music. By raising the seventh degree a semitone, in "
"both minor harmonic and minor melodic scales, musicians found that the "
"created harmonies make the music feel more strongly centered on the tonic "
"(you will learn about this in more advanced lessons) avoiding this "
"'medieval' feeling."
msgstr ""

#: TheoryHarmony.cpp:257
msgid "Music in minor scales"
msgstr ""

#: TheoryHarmony.cpp:16
msgid ""
"My main objective is not to write about music theory (there are many good "
"books on this that you can use) but to spend my time in writing software. "
"But some texts are necesary, I don't have much time for writing texts and it "
"takes a lot of time to prepare an eBbook. Therefore, I have decided to "
"publish the lessons as soon as I write them, instead of waiting until the "
"whole book is finished."
msgstr ""

#: TheoryHarmony.cpp:102
msgid ""
"Next we meet our first semitone: A. (There is nothing we can squeeze in "
"between #G and A)."
msgstr ""

#: TheoryHarmony.cpp:199
msgid ""
"Not noticing whether the question asks for a <b>key signature</b> or "
"<b>accidentals</b>."
msgstr ""

#: TheoryHarmony.cpp:198
msgid "Not using a <b>different</b> letter name for each note."
msgstr ""

#: TheoryHarmony.cpp:54 TheoryHarmony.cpp:56
msgid "Nothing possible here!"
msgstr ""

#: TheoryHarmony.cpp:316
msgid ""
"Notice that the words 'harmonic' and 'melodic' used to describe intervals "
"has nothing to do with its meaning when we use them to talk about harmonic "
"and melodic minor scales."
msgstr ""

#: TheoryHarmony.cpp:55
msgid ""
"Now find A and B flat. The distance between A and B flat is also a semitone."
msgstr ""

#: TheoryHarmony.cpp:366
msgid ""
"Now the sensation is not conclusive. It is more like a short pause and it "
"creates an expectation of continuation. If we end the music piece at the "
"last chord, we will leave the listener with a longing for more."
msgstr ""
"Agora a sensación non é conclusiva. Transmite a idea dunha curta pausa e "
"crea expectativas de continuación. Se o compositor terminase unha peza no "
"último acorde escoitado o oínte quedaríase cunha sensación estraña, sentindo "
"que falta algo. "

#: TheoryHarmony.cpp:335
msgid ""
"Now the wrong way. Starting on the first note (G), we count the letter names "
"to the second note (C), G-A-B-C =4, which gives us a 4th. This is the wrong "
"answer!"
msgstr ""

#: TheoryHarmony.cpp:95
msgid ""
"Observe that if you write a major scale with its key signature <b>there are "
"no accidentals to add!</b>"
msgstr ""

#: TheoryHarmony.cpp:85
msgid ""
"On the piano, a C major scale uses all the white notes (so it doesn't have "
"any sharps or flats), but on other instruments, we don't have white notes, "
"so how do we know which notes to use?"
msgstr ""

#: TheoryHarmony.cpp:252
msgid ""
"On the way up (ascending), the sixth and seventh degrees of the scale are "
"each raised by one half step, creating the pattern <b>T-S-T-T-T-T-S</b>, but "
"on the way down the pattern is that of the minor natural: <b>T-T-S-T-T-S-T</"
"b>."
msgstr ""

#: TheoryHarmony.cpp:411
msgid ""
"Once you have reviewed all cadence types it is important to learn to "
"recognize and identify them. A useful trick is to associate each cadence "
"with a melody or song you know well. Practise to recognise cadences while "
"you listen to music."
msgstr ""
"Unha vez que coñeces os distintos tipos de cadencias é importante "
"practicalas e diferencialas unhas doutras. Para iso, é aconsellable que "
"asocies as cadencias a cancións que coñezas ou a sensacións producidas. "

#: TheoryHarmony.cpp:349
msgid ""
"One interval is a bit more awkward to write than the others, and that is the "
"harmonic 2nd. Harmonic intervals are written directly above the given note, "
"but the 2nd is too close to write directly, so we have to move it to the "
"side a little. If you try to write it directly above, you will produce "
"something unreadable like this:"
msgstr ""

#: TheoryHarmony.cpp:351
msgid "Perfect!"
msgstr ""

#: TheoryHarmony.cpp:42
msgid ""
"Permission is granted to copy, distribute and/or modify this book under the "
"terms of the Creative Commons Attribution-Share-Alike License 3.0, with the "
"exception of those pages where the author or group of authors has been "
"clearly marked. Those pages are subject to the limitations described in the "
"previous 'credits' section. The text of the Creative Commons Attribution-"
"Share-Alike licence is available at <a-1>http://creativecommons.org/licenses/"
"by-sa/3.0/</a-1>"
msgstr ""

#: TheoryHarmony.cpp:13
msgid ""
"Permission is granted to copy, distribute and/or modify this document under "
"the terms of the Creative Commons Attribution-Share-Alike License 3.0 or "
"later, with the exceptions described in the <a-1>Credits and Copyrights</"
"a-1> page of this book. The text of the Creative Commons Attribution-Share-"
"Alike License 3.0 is available at <a-2> http://creativecommons.org/licenses/"
"by-sa/3.0/</a-2>"
msgstr ""

#: TheoryHarmony.cpp:384
msgid "Plagal cadences"
msgstr "Cadencia plagal"

#: TheoryHarmony.cpp:92
msgid ""
"Play both scales and listen. You will notice that both sound 'similar' and "
"remainds you the C major scale: the scale formed by all note names "
"<b>without accidentals</b>. But, wait!. G major and F# major <b>do have</b> "
"accidentals. How is that they sound 'similar' if we have introduced new "
"different sounds?"
msgstr ""

#: TheoryHarmony.cpp:70
msgid "Play the two following scores"
msgstr ""

#: TheoryHarmony.cpp:14 TheoryHarmony.cpp:18
msgid "Presentation"
msgstr "Presentación"

#: TheoryHarmony.cpp:358
msgid "Recognize intervals on a score"
msgstr ""

#: TheoryHarmony.cpp:9
msgid "References"
msgstr ""

#: TheoryHarmony.cpp:217
msgid "Relative minor and major keys"
msgstr ""

#: TheoryHarmony.cpp:345
msgid ""
"Remember that we start counting on the lower note, which is F in our "
"example. We've been told to write a 7th, so we count seven notes upwards: F, "
"G, A, B flat, C, D, E. The seventh note is E, so that's the note we need to "
"write."
msgstr ""

#: TheoryHarmony.cpp:114
msgid ""
"Remember, we can't use A sharp instead of B flat, because we've already got "
"an A in the scale."
msgstr ""

#: TheoryHarmony.cpp:43 TheoryHarmony.cpp:45
msgid "Scales"
msgstr ""

#: TheoryHarmony.cpp:26
msgid ""
"Scales\n"
"<ul>\n"
"<li> <a-3>Semitones. The chromatic scale</a-3></li>\n"
"<li> <a-5>Diatonic scales. Tonal center</a-5></li>\n"
"<li> <a-7>Tones.Major scales</a-7></li>\n"
"<li> <a-9>Minor natural scales</a-9></li>\n"
"<li> <a-11>Harmonic and melodic minor scales</a-11></li>\n"
"<li> <a-13>Exercises</a-13></li>\n"
"</ul>"
msgstr ""

#: TheoryHarmony.cpp:116
msgid ""
"Scales can be written going up or going down. Scales which go up are called "
"'ascending', and scales which go down are 'descending'. When we write a "
"descending scale, the pattern of tones and semitones is reversed, so instead "
"of being T-T-S-T-T-T-S, it is S-T-T-T-S-T-T."
msgstr ""

#: TheoryHarmony.cpp:234 TheoryHarmony.cpp:236 TheoryHarmony.cpp:238
#: TheoryHarmony.cpp:269 TheoryHarmony.cpp:271 TheoryHarmony.cpp:273
#: TheoryHarmony.cpp:291 TheoryHarmony.cpp:293 TheoryHarmony.cpp:295
#: TheoryHarmony.cpp:297 TheoryHarmony.cpp:299 TheoryHarmony.cpp:301
msgid "Scales' identification"
msgstr ""

#: TheoryHarmony.cpp:49
msgid "Semitones"
msgstr ""

#: TheoryHarmony.cpp:20 TheoryHarmony.cpp:44
msgid "Semitones. The chromatic scale"
msgstr ""

#: TheoryHarmony.cpp:2
#, fuzzy
msgid "Send your comments and suggestions to the LenMus team (www.lenmus.org)"
msgstr ""
"Envía os teus comentarios e suxestións ao equipo de LenMus (www.lenmus.org)"

#: TheoryHarmony.cpp:37
msgid ""
"Some lessons are based on music theory lessons from <a-1>www.mymusictheory."
"com</a-1>. Copyright © Victoria K. Williams. Used here with her permission."
msgstr ""

#: TheoryHarmony.cpp:38
msgid ""
"Some texts have been taken from Catherine Schmidt-Jones music theory lessons "
"at 'Conexions' ( <a-1>http://cnx.org/content/col10208/latest/</a-1>). Her "
"work is licensed under a Creative Commons Attribution License (CC-BY 1.0), "
"and is an Open Educational Resource."
msgstr ""

#: TheoryHarmony.cpp:332
msgid "Starting on the higher note: a very common mistake!"
msgstr ""

#: TheoryHarmony.cpp:132
msgid "Sub-dominant"
msgstr ""

#: TheoryHarmony.cpp:138
msgid "Sub-mediant"
msgstr ""

#: TheoryHarmony.cpp:126
msgid "Supertonic"
msgstr ""

#: TheoryHarmony.cpp:17
msgid "Table of content"
msgstr ""

#: TheoryHarmony.cpp:91
msgid ""
"Take paper and pencil, copy those escales, and find the pattern of tones and "
"semitones."
msgstr ""

#: TheoryHarmony.cpp:30 TheoryHarmony.cpp:373
msgid "Terminal cadences"
msgstr "Cadencias conclusivas"

#: TheoryHarmony.cpp:374
#, fuzzy
msgid ""
"Terminal cadences create a sensation of stability and conclusion of the "
"musical phrase or sentence. This feeling is achieved by moving to the tonic "
"grade (grade I) from any other chord grade. Depending on the starting chord "
"grade, two types of cadences are considered: <a-1> authentic cadences</a-1> "
"and <a-2> plagal cadences</a-2>."
msgstr ""
"As cadencias conclusivas están caracterizadas por crear repouso e "
"estabilidade. Esta sensación conséguese chegando á tónica (grado I) desde "
"algún outro grado tonal. Dependendo do grado desde o que se chega á tónica "
"distínguense dous tipos de cadencias:"

#: TheoryHarmony.cpp:36
msgid ""
"Texts on cadences were writen for this eBook by Marcelo Gálvez. Licensed "
"under Creative Commons Attribution-Share-Alike License 3.0. or later."
msgstr ""

#: TheoryHarmony.cpp:15
msgid ""
"The 'Theory and harmony' eBook is not yet finished and, currently, it is "
"just a collection of lessons on music theory."
msgstr ""

#: TheoryHarmony.cpp:224
msgid ""
"The C major and C minor scales start on the same note, but have different "
"key signatures. C minor and E flat major start on different notes, but have "
"the same key signature. C minor is the relative minor of E flat major."
msgstr ""

#: TheoryHarmony.cpp:93
msgid ""
"The answer is in the pattern of tones and semitones. <b>What our brain is "
"recognizing is this pattern of sound intervals! And that is what "
"characterizes and defines any scale.</b>For a major scale the pattern is T-T-"
"S-T-T-T-S. Memorize it!"
msgstr ""

#: TheoryHarmony.cpp:216
msgid ""
"The answer is in two details: they have a different tonal center (C in C "
"major and A in A minor) and althoug both scales share the same notes, the "
"notes in the minor scale follow a different pattern of tones and semitones "
"and so have different relationships with each other; therefore, the "
"harmonies and chord progressions built around their (different) tonal "
"centers creates the difference."
msgstr ""

#: TheoryHarmony.cpp:402
msgid ""
"The deceptive cadence is considered a weak cadence because of the 'surprise' "
"and 'hanging' feelings it invokes. Therefore, it is never used to end a "
"piece of music. However, it provides variety and surprise by resolving to a "
"minor chord in major keys, and to a major chord in minor keys. And when used "
"near the end of a piece, it helps to sustain the musical interest at the "
"moment when the final authentic cadence is expected."
msgstr ""
"É un proceso de cadencia auténtica no que se substitúe o acorde de tónica "
"por un inesperado, xeralmente VI, o IV ou calquera grado que conteña á "
"tónica en sustitución desta."

#: TheoryHarmony.cpp:51
msgid ""
"The first thing to notice is that, as said, we have twelve notes within an "
"octave, represented by seven white keys and five black keys. But only seven "
"letter names are used to name notes: C, D, E, F, G, A and B. The eighth note "
"would, of course, be the next C, beginning the next octave. To name the "
"other notes, the notes on the black piano keys, you have to use a sharp or "
"flat sign. The white keys are the <b>natural notes</b>. Black keys can only "
"be named using sharps or flats."
msgstr ""

#: TheoryHarmony.cpp:323
msgid "The following score shows some examples of intervals within one octave:"
msgstr ""

#: TheoryHarmony.cpp:244
msgid ""
"The harmonic minor scale raises the seventh note of the natural scale by one "
"half step, whether you are going up or down the scale. Therefore, harmonic "
"minor scales are built on pattern T - S - T - T - S - 3S - S (T=Tone or "
"'whole step'; S=Semitone or 'half step'; and 3S = three semitones)."
msgstr ""

#: TheoryHarmony.cpp:112
msgid "The last scale we will look at is F major:"
msgstr ""

#: TheoryHarmony.cpp:50
msgid ""
"The minimum distance between two pitches that we will consider in the "
"Western musical tradition is called a <b>semitone</b>, also named <b>half "
"step</b>. Let's use a piano keyboard to look at some examples."
msgstr ""

#: TheoryHarmony.cpp:66
msgid ""
"The most important scales are the <b>diatonic</b> scales. A diatonic scale "
"has seven notes and each of those notes is given different letter name, A-G."
msgstr ""

#: TheoryHarmony.cpp:100
msgid ""
"The next note we need, as you can see from the pattern T-T-S-T-T-T-S, is a "
"tone higher than E. The note which is a tone higher than E is <b>F sharp</"
"b>, (because we can squeeze an F between them). So F sharp is our next note:"
msgstr ""

#: TheoryHarmony.cpp:208
msgid "The pattern is <b>T-S-T-T-S-T-T</b>."
msgstr ""

#: TheoryHarmony.cpp:88
msgid "The pattern is <b>T-T-S-T-T-T-S</b>."
msgstr ""

#: TheoryHarmony.cpp:383
msgid ""
"The perfect cadence is usually found at the end of a piece of music and the "
"end of significant sections."
msgstr ""
"A cadencia perfecta aparece, normalmente, ao final dunha peza musical e ao "
"final das seccións significativas."

#: TheoryHarmony.cpp:241
msgid ""
"The scales studied in previous lesson are natural minor scales. They contain "
"only the notes in the minor key signature and are built on pattern T-S-T-T-S-"
"T-T."
msgstr ""

#: TheoryHarmony.cpp:194
msgid ""
"The simple, sing-along, nursery rhymes and folk songs we learn as children; "
"the 'catchy' tunes used in advertising jingles; the cheerful, toe-tapping "
"pop and rock we dance to; the uplifting sounds of a symphony: most music in "
"a major key has a bright sound that people often describe as cheerful, "
"inspiring, exciting, or just plain fun."
msgstr ""

#: TheoryHarmony.cpp:322
msgid ""
"The smallest interval we can consider is the interval between two identical "
"notes - e.g. E and E. This interval is called a 'unison'. We can also say "
"that the notes are 'in unison'."
msgstr ""

#: TheoryHarmony.cpp:101
msgid ""
"The third note is, again, a tone up. From F sharp, the next tone up is G "
"sharp, (we can squeeze G in between them)."
msgstr ""

#: TheoryHarmony.cpp:11
msgid "Theory and harmony"
msgstr "Teoría e harmonía"

#: TheoryHarmony.cpp:282
msgid "Theory exercises"
msgstr ""

#: TheoryHarmony.cpp:391
msgid "Theory: Identify if a terminal cadence is authentic perfect or plagal."
msgstr "Teoría: Identifica se unha cadencia conclusiva é perfecta ou plagal."

#: TheoryHarmony.cpp:407
msgid ""
"Theory: Identify if a transient cadence is a half cadence or a deceptive "
"cadence."
msgstr ""
"Teoria: Practica o recoñecemento, sobre unha partitura, de semicadencias e "
"cadencias rotas."

#: TheoryHarmony.cpp:237 TheoryHarmony.cpp:239 TheoryHarmony.cpp:272
#: TheoryHarmony.cpp:274 TheoryHarmony.cpp:296 TheoryHarmony.cpp:298
#: TheoryHarmony.cpp:300 TheoryHarmony.cpp:302
msgid "Theory: Identify the scale shown"
msgstr ""

#: TheoryHarmony.cpp:421
msgid "Theory: identify the type of cadence."
msgstr " Teoría: identifica o tipo de candecia. "

#: TheoryHarmony.cpp:59
msgid ""
"There are no different types of chromatic scales. Either, we don't talk "
"about chromatic scales as being in a particular key; we just talk about the "
"note they start on - and they can start on any note."
msgstr ""

#: TheoryHarmony.cpp:382
msgid ""
"There are theoretical discussions about considering the imperfect cadence as "
"a terminal cadence. Nevertheless, we have opted to include it in the "
"terminal group due to sonority considerations."
msgstr ""
"A nivel teórico hai discusións sobre se a cadencia imperfecta debe ou non "
"considerarse unha cadencia conclusiva. Neste texto e nos exercicios optamos "
"por incluíla no grupo das conclusivas, debido, fundamentalmente, a que a "
"sensación sonora que crea é similar á da cadencia perfecta."

#: TheoryHarmony.cpp:340
msgid "There are two important steps to follow when you write intervals."
msgstr ""

#: TheoryHarmony.cpp:73
msgid ""
"There are two main types of diatonic scales: major and minor. And you need "
"to know how to recognize, write and play all of them. We will learn about "
"major scales in next lesson."
msgstr ""

#: TheoryHarmony.cpp:242
msgid ""
"There are two other kinds of minor scales that are commonly used: the minor "
"harmonic and the minor melodic scales. We are going to study them in this "
"lesson."
msgstr ""

#: TheoryHarmony.cpp:309
#, fuzzy
msgid ""
"Therefore, I encourage you to study intervals and do all proposed exercises "
"until you master recognition of intervals, both aurally and on written music."
msgstr ""
"Nesta lección propoñémosche exercicios adicionais de identificación de "
"cadencias, tanto en partituras como de oido."

#: TheoryHarmony.cpp:142
msgid ""
"These technical names are worked out from ascending scales. For example, in "
"C major ascending, the second note we write is D, so D is the supertonic in "
"C major. If we write out the scale of C major descending, the second note we "
"write is B. But B is not the supertonic. The supertonic is still D; B is the "
"leading note, because it is the 7th note in the ascending scale."
msgstr ""

#: TheoryHarmony.cpp:10
msgid "This lesson is based on materials from:"
msgstr ""

#: TheoryHarmony.cpp:321
msgid ""
"To find the number of an interval, first find the note names of the two "
"notes, (ignore any sharps and flats for now), and count the letter names, "
"starting with the lower note on the stave, (it could be the first or second "
"note along on the stave if it is a melodic interval)."
msgstr ""

#: TheoryHarmony.cpp:77
msgid ""
"To understand how to build diatonic scales you need to know what is a "
"<b>tone</b>. In <a-2>a previous lesson</a-2> we've learnt about semitones or "
"half steps. Now you will learn about tones: A tone is just two semitones!."
msgstr ""

#: TheoryHarmony.cpp:192
msgid "Tonal center"
msgstr ""

#: TheoryHarmony.cpp:76
msgid "Tones"
msgstr ""

#: TheoryHarmony.cpp:75
msgid "Tones. Major scales"
msgstr ""

#: TheoryHarmony.cpp:22
msgid "Tones.Major scales"
msgstr ""

#: TheoryHarmony.cpp:123
msgid "Tonic"
msgstr ""

#: TheoryHarmony.cpp:31 TheoryHarmony.cpp:394
msgid "Transient cadences"
msgstr "Cadencias suspensivas"

#: TheoryHarmony.cpp:395
#, fuzzy
msgid ""
"Transient cadences are not conclusive. They create a sensation of tension "
"and unstability and an expectation of continuation. They are more like a "
"short pause in the musical flow. There are two types of transient cadences: "
"<a-1> half cadences</a-1> and <a-2> deceptive cadences</a-2>."
msgstr ""
" As cadencias suspensivas caracterízanse por crear sensacións de "
"inestabilidade, tensión e necesidade de continuación. Distínguense dous "
"tipos de cadencias suspensivas: "

#: TheoryHarmony.cpp:8
msgid ""
"Translated to #REPLACE BY YOUR LANGUAGE NAME# by #REPLACE BY YOUR NAME#."
msgstr ""

#: TheoryHarmony.cpp:328
msgid "Unison"
msgstr ""

#: TheoryHarmony.cpp:202
msgid ""
"Using the wrong note value - usually you are asked to use <b>whole notes</b> "
"(semibreves)."
msgstr ""

#: TheoryHarmony.cpp:134 TheoryHarmony.cpp:148
msgid "V"
msgstr ""

#: TheoryHarmony.cpp:137 TheoryHarmony.cpp:149
msgid "VI"
msgstr ""

#: TheoryHarmony.cpp:140 TheoryHarmony.cpp:150
msgid "VII"
msgstr ""

#: TheoryHarmony.cpp:267
msgid ""
"Victoria K. Williams music theory lessons. <a-1>www.mymusictheory.com</a-1>"
msgstr ""

#: TheoryHarmony.cpp:62 TheoryHarmony.cpp:74 TheoryHarmony.cpp:203
#: TheoryHarmony.cpp:232
msgid ""
"Victoria K. Williams music theory lessons. <a-1>www.mymusictheory.com</a-1>. "
"Copyright © Victoria K. Williams. Used here with her permission."
msgstr ""

#: TheoryHarmony.cpp:106
msgid ""
"We already know how to build any other major scale. And we already know C "
"major (all notes, no accidentals). For level 1 you will have to know three "
"other scales : G major, F major and D major. Let's start with G major.."
msgstr ""

#: TheoryHarmony.cpp:98
msgid ""
"We already know that all major scales follow the same pattern <b>T-T-S-T-T-T-"
"S</b>. Therefore, it is easy to build any major scale. As an example, we'll "
"construct E major."
msgstr ""

#: TheoryHarmony.cpp:315
msgid ""
"We can measure the distance between two notes which are played together at "
"the same time. The distance between these notes is called a 'harmonic' "
"interval. Also we can measure the distance between two notes which are "
"played separately, one after the other. In this case, the distance between "
"these notes is called a 'melodic' interval."
msgstr ""

#: TheoryHarmony.cpp:350
msgid ""
"We move the higher note to the right, but keep it close enough to the lower "
"note that they are just touching:"
msgstr ""

#: TheoryHarmony.cpp:72
msgid ""
"We talk about diatonic scales as <b>being in a certain key</b>, for example, "
"in 'C Major' or in 'B flat minor'."
msgstr ""

#: TheoryHarmony.cpp:119
msgid ""
"We use technical names to talk about each note of the diatonic scale, "
"instead of saying 'first note', 'third note' and so on. The first and last "
"notes in any scale are called the 'tonic'. The other notes can be referred "
"to by <b>number</b>. In C major, the second note in the scale is D, so we "
"can say that D is the <b>2nd degree of the scale of C major</b>. We always "
"use the <b>ascending</b> scale to work out the degrees of a scale. Every "
"scale has seven degrees, because there are seven different notes. The "
"distance of eight notes, from low C to top C for example, is called an "
"'octave'."
msgstr ""

#: TheoryHarmony.cpp:99
msgid ""
"We'll start by putting the the tonic of E major, that is, an E note. We're "
"using the treble clef, but it works just the same way in any other clef."
msgstr ""

#: TheoryHarmony.cpp:65
msgid ""
"We've learnt that the octave is divided into twelve notes, spaced by one "
"semitone. When played one after the other we get the cromatic scale. But "
"chromatic scales aren't very interesting to compose music. In Western music "
"tradition normally you would not use all twelve notes to compose a melody, "
"as it will not sound 'good'. Therefore, musicians learnt to choose the "
"'right' notes that were useful to compose 'sounding good' melodies, and "
"grouped these notes in 'scales'. So let's learn about how to choose the "
"'right' notes to use and about the scales they form. But please remember "
"that people in different musical traditions have different ideas about what "
"notes they think sound best together!."
msgstr ""

#: TheoryHarmony.cpp:189
msgid ""
"What difference does key make? Since the major scales all follow the same "
"pattern, they all sound very much alike. Here is the tune 'Row, Row, Row "
"Your Boat', written in G major and also in D major. First in G major:"
msgstr ""

#: TheoryHarmony.cpp:333
msgid ""
"What happens if you try to calculate an interval by starting with the higher "
"note on the stave? You will get the wrong answer! This is a common mistake, "
"so let's look at an example of what can go wrong. What is the following "
"harmonic interval?"
msgstr ""

#: TheoryHarmony.cpp:27 TheoryHarmony.cpp:304 TheoryHarmony.cpp:310
msgid "What is an interval?"
msgstr ""

#: TheoryHarmony.cpp:215
msgid ""
"What main difference does major or minor key make? In C major key it sounds "
"cheerful but in A minor key it sounds sad. Probably you have noticed that "
"the A minor scale is using the same notes than the C major scale: the white "
"keys of the piano keyboard. Then, why this difference in emotional feel?"
msgstr ""

#: TheoryHarmony.cpp:377
msgid "When the authentic cadence satisfies the following conditions:"
msgstr " Cando a cadencia auténtica cumpre as seguintes condicións: "

#: TheoryHarmony.cpp:305
msgid "Why should you learn about 'intervals'?"
msgstr ""

#: TheoryHarmony.cpp:361
msgid "Write intervals on a score"
msgstr ""

#: TheoryHarmony.cpp:339
msgid "Writing Intervals"
msgstr ""

#: TheoryHarmony.cpp:200
msgid ""
"Writing accidentals/key signatures on the <b>wrong space</b> or <b>line</b>."
msgstr ""

#: TheoryHarmony.cpp:201
msgid ""
"Writing an <b>ascending</b> scale when the question asks for a "
"<b>descending</b> one, and vice versa."
msgstr ""

#: TheoryHarmony.cpp:61
msgid ""
"You need to be able to recognise chromatic scales, as well as sections of a "
"chromatic scale within a piece of music. To find a section of a chromatic "
"scale, just look for a series of notes that are all one semitone apart."
msgstr ""

#: TheoryHarmony.cpp:365
msgid ""
"You will notice the feeling of conclusion, of reaching the end of a musical "
"piece. The chord sequence does not create expectations of continuation. The "
"composer could end the musical composition in the last chord and the "
"listener will perceive that the end has been reached and remain 'satisfied' "
"with finishing at that point. On the contrary, listen to the following chord "
"sequence:"
msgstr ""
"Observa a sensación de conclusión , de que se chegou ao final dunha peza "
"musical. Esta secuencia de acordes non crea expectativas de continuación. O "
"compositor pode perfectamente dar por terminada a peza no último acorde e o "
"oínte percibirá que se chegou ao final, sen quedarse coa sensación de que "
"'falta algo'. Pola contra, escoita a seguinte secuencia de acordes:"

#: TheoryHarmony.cpp:344
msgid ""
"You'll also be told if you have to write a harmonic, or melodic interval. "
"This one is a melodic interval, so we'll write the second note after the "
"given note."
msgstr ""

#: TheoryHarmony.cpp:4
msgid ""
"additional terms may apply. See cover page of this eBook for exceptions and "
"details."
msgstr ""

#: TheoryHarmony.cpp:378
msgid "both chords are in root position;"
msgstr "ambos acordes en estado fundamental;"

#: TheoryHarmony.cpp:379
msgid "the first chord is the V or the V7 ; and"
msgstr "o primeiro acorde é o V ou o V7, e "

#: TheoryHarmony.cpp:380
msgid "the melody (soprano voice) ends on the tonic pitch."
msgstr "a melodía (voz máis alta) remata na tónica."

#: TheoryHarmony.cpp:6
msgid "the teacher of music"
msgstr "o profesor de música"

#: TheoryHarmony.cpp:381
msgid ""
"then the cadence has its strongest conclusive power and it creates the most "
"final sounding of all cadences. Due to this fact, if the previously listed "
"conditions are satisfied, the cadence is named 'perfect authentic cadence' "
"or just 'perfect cadence'. If the conditions are not satisfied, the "
"conclusive sensation of the cadence is less strong and then the cadence is "
"named 'imperfect authentic cadence' or just 'imperfect cadence'."
msgstr ""
"entón a cadencia ten o seu máximo poder conclusivo e é a que crea maior "
"sensación de final de todas as cadencias. Por iso, cando as anteriores "
"condicións cúmprense, a cadencia recibe o nome de 'cadencia auténtica "
"perfecta' ou, simplemente, 'cadencia perfecta'. Se as mencionadas condicións "
"non se cumpren a cadencia denomínase 'auténtica imperfecta' ou, "
"abreviadamente, 'cadencia imperfecta'."