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Translation Volume: 5000 words Completed: Dec 2009 Languages: English to Catalan
Translation of an emergency plan
Translation of the emergency plan of Girona city.
Architecture
No comment.
Translation Volume: 6000 words Completed: Dec 2009 Languages:
English to Spanish
All-in-one audio system user's guide
All-in-one audio system manual for the Ipod
Electronics / Elect Eng
No comment.
Translation Volume: 10000 words Completed: Apr 2008 Languages: Spanish to English Spanish to French Catalan to French Catalan to English
Hotel website
tourism, hotel, website
Tourism & Travel
No comment.
Translation Volume: 270000 words Completed: May 2007 Languages: English to Spanish
First translation of a book
First translation draft of "The house of the blue mangoes"
Poetry & Literature
No comment.
Translation Volume: 12000 words Completed: Jan 2006 Languages: Catalan to Spanish Catalan to English
Website
Translation of a tourist website (www.vallderibes.com)
Tourism & Travel
No comment.
Translation Volume: 4000 words Languages:
English to Spanish
Stompbox Modeller User Guide
Manual del usuario de una pedalera
Music
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Sample translations submitted: 2
English to Spanish: How to play jazz and improvise General field: Art/Literary Detailed field: Music
Source text - English Jazz musicians have always mentally heard music then worked/practiced until they could play those ideas on their instrument. Knowing the fingerings, scales and chords (arpeggios) to each of the chord/scales in the harmony is fundamental. But, don't make the mistake of taking a lifetime to learn the fundamentals and never take time to enjoy MAKING MUSIC. Sometimes we forget to balance the learning of scales, chords, fingerings, technique, etc. with the joy of playing a simple melody that we hear in our head.
The most successful musicians are those who can balance the left-brain knowledge with the creative right-brain. If you can only play by ear (right-brain), you'll find yourself limited to only what-you-know. If you over emphasize the left-brain you may end up sounding like a well-oiled jazz machine but not too inspiring or original.
In your beginning work with the various recorded tracks in Volume 1, I suggest using an approach that allows both sides of the brain to be used. Cooperation is a key word here and I'm suggesting you cooperate with yourself. Practice with the scales, chords, patterns, licks and get so you can weave through the harmony of any of the tracks without really thinking about it. But also be spontaneous, creative, surprising, imaginative and take chances over the various chord progressions and keys that are on this recording. At all times be listening intently to what you are hearing in your mind. Then, try to analyze it and play it with the proper articulation and feeling.
The object is to have both sides ofthe brain working together, in harmony with each other.
Since there is a rather wide divergence in the way jazz professionals write chord and scale symbols, as well as other devices used in the "jazz language," turn NOW to the NOMENClATURE page and become familiar with it. It will be a benefit to you throughout this book. Simply said, each chord symbol represents both a chord and a scale. The NOMENCLATURE page will show you the various chord/scale types (choices) and their abbreviated symbols.
Translation - Spanish Los músicos de jazz siempre han escuchado la música a nivel mental y después han trabajado/practicado hasta que podían tocar aquellas ideas en sus instrumentos. Conocer las digitaciones, las escalas, los acordes (arpegios) para cada acorde/escala en la armonía es fundamental. Pero no cometas el error de pasarte toda tu vida aprendiendo los principios fundamentales y de no tomarte tiempo para disfrutar CREANDO MÚSICA. Algunas veces olvidamos equilibrar el aprendizaje de escalas, acordes, digitación, técnica, etc., con el placer de tocar una simple melodía que nos viene a la cabeza.
Los músicos de más éxito son aquellos capaces de equilibrar la parte cognitiva del cerebro izquierdo con la parte creativa del cerebro derecho. Si únicamente puedes tocar de oído (cerebro derecho), sólo estarás limitado a lo que sabes. Si pones más énfasis en el cerebro izquierdo, puedes acabar sonando como una máquina de jazz bien engrasada pero sin ser creativo ni original.
Si empiezas a trabajar con las diferentes pistas grabadas en el Volumen 1, te sugiero que utilices un enfoque que te permita trabajar con ambos lados del cerebro. La palabra cooperación es clave y te recomiendo que cooperes contigo mismo. Practica con escalas, acordes, patrones, licks y demás para que puedas crear la armonía de cualquiera de las pistas sin tener que pensar. Pero se también espontáneo, creativo, sorprendente, imaginativo y arriesgate con las distintas progresiones de acordes y tonos que encontrarás en esta grabación. Escucha siempre con atención lo que oyes en tu mente. Después, intenta analizarlo y tocarlo con la articulación y los sentimientos adecuados.
El objetivo es conseguir que ambos lados del cerebro trabajen conjuntamente, en armonía el uno con el otro.
Puesto que existe una amplia divergencia en la manera de escribir los acordes y los símbolos de escala entre los profesionales del jazz, y en otros recursos utilizados en el “lenguaje del jazz”, comprueba AHORA la página de NOMENCLATURA y familiarízate con ella. Te será muy útil a lo largo de este libro. Simplemente lo dicho, cada símbolo de acorde representa un acorde y una escala. La página de NOMENCLATURA te mostrará los diferentes tipos de acordes/escalas (opciones) y sus símbolos abreviados.
English to Spanish: Stompbox pedal manual General field: Tech/Engineering Detailed field: Music
Source text - English Display - Each display shows the current settings for that FX Unit. The
display illuminates the color of current effect type (Distortion–yellow, Delay–green, Modulation–blue, Filter–purple & Reverb–orange). The letter at the top right indicates whether the A, B or C memory is running. To the right of this is the effect model name. If no FX Units are on the display will read “BYPASS”. Knobs control settings as shown above. Note: Press in the MODEL SELECT knob to change effect type or turn the MODEL SELECT knob to select a new model.
Memory Footswitches - Each FX Unit has 3 memories (A/B/C). Only one memory can be active at a time: its footswitch will be brightly lit, and colored to show the effect type. Inactive switches are dimly lit colored to show the effect type. Step on a footswitch to activate that memory. Step on an active memory switch to bypass the FX Unit.
TAP - Tap tempo is available for all Delay effects, most MOD effects, and some Filter effects. For Delay and MOD effects turn the second top row knob or for Filters turn the first bottom row knob of the FX Unit all the way to max, and you’ll switch between tap tempo and regular control modes. Once you’re in Tap tempo control mode, turn the knob to select one of the available note values. Tap 2 or more times on the TAP switch, and all the effects set to tap tempo control will change their time/speed/ tempo to match the tempo you tapped. To end tap tempo operation for an effect, turn the knob to max again.
NOTE: Parameters set to tap tempo control are NOT affected by expression pedal operation.
Translation - Spanish Pantallas - Cada pantalla muestra el ajuste actual para esa unidad de efectos. La pantalla se ilumina con el color del tipo de efecto actual (distorsión= amarillo, delay= verde, modulación= azul, filtro= morado y reverberación= naranja). La letra en la parte superior derecha indica si se está ejecutando la memoria “A”, “B” o “C”. Justo a su derecha, aparece el nombre del modelo de efecto. Si en la pantalla no se visualizan unidades de efectos, se visualizará el mensaje “BYPASS”. Los ajustes de control de los mandos se muestran arriba. Nota: Pulsa el mando MODEL SELECT para cambiar el tipo de efecto o gira el mando MODEL SELECT para seleccionar un nuevo modelo.
Pedales con memoria - Cada unidad de efectos dispone 3 memorias (A/B/C y C). Sólo puede estar activa una memoria a la vez: el conmutador de pedal se iluminará con un color brillante para mostrar el tipo de efecto. Los conmutadores inactivos están iluminados con un color tenue para mostrar el tipo de efecto. Pisa un conmutador de pedal para activar la memoria. Pisa el conmutador de memoria activo para omitir la unidad de efectos.
TAP - Tap tempo está disponible para todos los efectos Delay, para la mayoría de efectos de modulación y para algunos efectos de filtro. Para los efectos MOD y Delay, gira el mando de la segunda fila superior y para los efectos Filter gira el mando de la última fila de la unidad de efectos al máximo y cambiarás entre los modos de control tap tempo y regular. Una vez estés en modo de control Tap tempo, gira el mando para seleccionar uno de los valores de nota disponibles. Golpea 2 o más veces el conmutador TAP y todos los efectos de control tap tempo cambiarán el tiempo/ velocidad/tempo para coincidir con el tempo golpeado. Para finalizar la operación tap tempo para un efecto, gira el conmutador al máximo. NOTA: Los parámetros ajustados en el control tap NO se ven afectados por el funcionamiento del pedal de expresión.
English to Spanish (Universitat de Vic (Barcelona, 1998), verified) French to Spanish (Universitat de Vic (Barcelona, 1998), verified) English to Catalan (Universitat de Vic (Barcelona, 1998), verified) French to Catalan (Universitat de Vic (Barcelona, 1998), verified) Spanish to Catalan (Universitat de Vic (Barcelona, 1998))
Catalan to Spanish (Universitat de Vic (Barcelona, 1998)) Italian to Catalan (Escola Oficial d'idiomes de la Generalitat de Cata) Italian to Spanish (Escola Oficial d'idiomes de la Generalitat de Cata)
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Freelance translator from English and French into Catalan and Spanish, both mother tongues. I hold a BA in Translation and Interpretation and a Degree in EFLT.
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