Wörterbuchnetz
Lexicon musicum Latinum medii aevi Bibliographische AngabenLogo badw
 
bis elevatus (Bd. 2, Sp. 1 bis 18)
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Artikelverweis E, e, , EE I. Markierungspunkt in Mensuren II. Tonbuchstabe III. Ausführungshinweis (littera significativa, ‚Romanusbuchstabe‘) IV. Intervallbuchstabe V. als Teil der Vokalreihe zur Inventionshilfe VI. Kennbuchstabe für eine Kirchentonart I. letter that designates a specific point in measurements II. letter that designates a note III. direction for performance (littera significativa‚ ‘Romanian letter’) IV. letter that designates an interval V. as part of the series of vowels used to invent musical composition VI. letter that identifies a mode
I Markierungspunkt in Mensuren letter that designates a specific point in measurements
1 im System A - LL in the system A - LL
a E für die lichanos hypaton diatonos und EE für die trite hyperboleon enarmonios E for the lichanos hypaton diatonos and EE for the trite hyperboleon enarmonios
[s.VI]
Boeth. mus. 4, 6 p. 322, 1: EE trite hyperboleon enarmonios. Boeth. mus. 4, 11 p. 332, 18: E lichanos hypaton diatonos. Boeth. mus. 4, 11 p. 334 descr. al.
b E für die lichanos hypaton diatonos und EE für die trite hyperboleon diatonos und trite hyperboleon chromaticos E for the lichanos hypaton diatonos and EE for the trite hyperboleon diatonos and trite hyperboleon chromaticos
[s.XIV]
Iac. Leod. spec. 5, 37 descr. Iac. Leod. spec. 5, 44 descr. al. cf. LmL II, 3 col. 2, 35.
2 im System: AˢB C DˢE F G HˢI K LˢM N O (für die parhypate meson) in the system: AˢB C DˢE F G HˢI K LˢM N O (for the parhypate meson)
[s.VI]
Boeth. mus. 4, 14 p. 338, 5: E parhypate meson (cf. Iac. Leod. spec. 6, 2, 5. al.). Boeth. mus. 4, 14 p. 341, 7. al.
[s.XIV]
Comm. Boeth. II p. 288, 40: inter E, que est parhipate meson, et I, que est trite diezeugmenon, sit quarta species diapente.
3 im System: A B CˢD E F GˢH I KˢL M N OˢP (Z) in the system: A B CˢD E F GˢH I KˢL M N OˢP (Z)
[s.VI]
Boeth. mus. 4, 17 p. 347, 20 descr. (inde Hier. Mor. 20 p. 155, 14 sqq. Comm. Boeth. II p. 308, 2. Guill. Pod. 4, 2. Guill. Pod. 5, 7). al.
[s.IX]
Scol. ench. 3, descr. 5. Hucbald. 27: per tonum, tonum et semitonium, rursus tres tonos continuos et semitonium usque ad octo voces scandatur, et ab ipsa rursus octava incipiendo ordo superior per eosdem similiter metiatur gradus, ad hunc modum: A t B t C s D t E t F t G s H t I t K s L t M t N t O s P.
[s.XIV]
Iac. Leod. spec. 6, 14, 1-2. Mon. Hoc mon. p. 204, 7. cf. Browne, System
4 im System: A BˢC D E FˢG H I KˢL M N OˢP Q R S in the system: A BˢC D E FˢG H I KˢL M N OˢP Q R S Mon. Prima corda I 35: Primae IIIIor cordae dicuntur graves A B C D. Item IIIIor dicuntur finales E F G H. Aliae IIIIor dicuntur superiores I K L M, et IIIIor aliae excellentes N O P Q, et <super> has sunt duae positae R S. Primae igitur IIIIor notantur per hos caracteres   (ed.: )  . al. Mon. Prima corda II 5. al.
5 im System: A BˢC D EˢF G Hˢ/(Z,SM)ˢIˢK L MˢN O P (für die hypate meson) in the system: A BˢC D EˢF G Hˢ/(Z,SM)ˢIˢK L MˢN O P (for the hypate meson)
[s.XI]
Ps.-Berno mon. 12, 2 descr.: E hypate meson, princeps mediorum. al. Quaest. mus. 1, 24 p. 67. Mon. Designata p. 70, 5. al. Mon. Divide mon. p. 3, 10-12. Mon. Mon. compos. I p. 68, 30. al. Mon. Partire totum p. 50, 41 descr. /Bd. 2, Sp. 2/ al. Mon. Prius dividenda 16. al. Mon. Si vis metiri I p. 9, 52. Mon. Totam tabulam p. 11, 12. al. (cf. Cymb. Omne instr. 3, 2. al.)
6 im System: AˢB C DˢE F Gˢh (= trite synemmenon) ˢH (= paramese) ˢK L MˢN X O (für die parhypate meson) in the system: AˢB C DˢE F Gˢh (= trite synemmenon) ˢH (= paramese) ˢK L MˢN X O (for the parhypate meson)
[s.XIV]
Iac. Leod. spec. 6, 2, 5 sqq. (cf. Boeth. mus. 4, 14 p. 338, 5). Iac. Leod. spec. 6, 3, 18 descr. al.
7 im System: A B CˢD E FˢSˢG (A H) in the system: A B CˢD E FˢSˢG (A H) Mon. In superiori p. 204, 5. Mon. Organalis p. 45. (cf. Fist. Quicumque cupit 5 p. 114. Cymb. Dimidium 18, 4. Cymb. G habeat 20. (?) Cymb. Quicumque vult 19, 3-4. Cymb. Si volueris 1, 4. al. Cymb. Sonitum 2, 7.) cf. LmL II, 4 col. 2, 48.
8 im System: A ˢC D EˢF G (primi - sexti ordinis) (für ein in Mikrointervallen versetztes Tonsystem) in the system: A ˢC D EˢF G (primi - sexti ordinis) (for a tonal system transposed according to microtones) Mon. Iste p. 237, 7. al. cf. Meyer Chr., Mensura p. LXVII
II Tonbuchstabe letter that designates a note
1 im System: AˢG F E DˢC B A GˢF E D CˢB A (aufsteigend) in the system: AˢG F E DˢC B A GˢF E D CˢB A (ascending)
[s.IX]
Mus. ench. 10 descr. 4. Mus. ench. 11 descr. 1-2.
2 im System: A BˢC D EˢF G H (ˢQ = trite synemmenon) I (= paramese) ˢK L MˢN O P (für die hypate meson) in the system: A BˢC D EˢF G H (ˢQ = trite synemmenon) I (= paramese) ˢK L MˢN O P (for the hypate meson)
[s.IX]
Scol. ench. 2 descr. 1 app. crit.
[s.XI]
Odor. Sen. p. 152: ⋅E⋅ Hypate meson, id est principalis mediarum. Odor. Sen. p. 213 descr. sqq.
[s.XV]
Adam Fuld. 2, 9 descr. Mon. Mensurus p. 66, 4. cf. LmL I, 5 col. 1, 60. cf. Browne, System
3 im System: a bˢc e hˢi m o xˢy cc ddˢff nn ii (für die lichanos hypaton) in the system: a bˢc e hˢi m o xˢy cc ddˢff nn ii (for the lichanos hypaton)(cf. Boeth. mus. 4, 11 p. 332, 18)
[s.IX-XII]
Gloss. Boeth. mus. 4, 16, 36, 7.
[s.IX-X]
Alia mus. p. 180 descr.: ⋅E(ms. Paris 7211; ed.: ⋅F⋅) lichanos hyp<aton>. Alia mus. 137 p. 198: quarta (sc. species diapason) a ⋅cc⋅ in ⋅e⋅ (inde Anon. Bernh. 2, 83). Alia mus. 138 p. 199: quatuor superiores, id est ⋅o⋅x⋅y⋅cc⋅ et quatuor inferiores, id est ⋅e⋅h⋅i⋅m⋅ (inde Anon. Bernh. 2, 84). Alia mus. 140 p. 200: dorius ab ⋅o⋅ aut descendat in ⋅e⋅ aut ascendat in ⋅cc⋅ (inde Anon. Bernh. 2, 86). al.
[s.X-XI]
Anon. Bernh. 1, 53-83. al. cf. Santosuosso, Notations p. 56 sqq.
4 im System: F (g) (= B rotundum)ˢGˢA B CˢD E FˢG (H) (= trite synemmenon)ˢG (= paramese)ˢA B CˢD E F (für lichanos meson und paranete hyperboleon) in the system: F (g) (= B rotundum)ˢGˢA B CˢD E FˢG (H) (= trite synemmenon)ˢG (= paramese)ˢA B CˢD E F (for the lichanos meson and the paranete hyperboleon)
[s.IX-X]
Hucbald. 47 descr. (traditio posterior). Mon. A dextra parte p. 59, 6. Mon. Divide in p. 61, 3. Mon. Divide in quatuor p. 54, 2-4. Mon. In primis 5: ⋅E⋅, que est paranete yperboleon. Mon. In primis 8: Duobus integris tonis inter ⋅D⋅ et ⋅E⋅ et ⋅E⋅ et ⋅F⋅ in diatonico. al. Mon. In primo 15. al. (inde Anon. Bernh. 2, 8-21) Mon. Mon. a magada 2. al. Mon. Per tres p. 59, 3. Mon. Primum dividas I p. 60, 8-9. Mon. Primum divide p. 24, 4. al. Mon. Si mon. I p. 27, 10. al. Mon. Si mon. Boetii p. 33, 5. Mon. Si regularis 3. al. Mon. Studiosis p. 22, 6. al. Mon. Totum mon. 4-5. Fist. Prima per 2 p. 83. al. Fist. Rogatus 48 p. 71. Fist. Si numeri p. 78 descr.
[s.XI]
Frut. brev. 4 p. 43: septem dumtaxat sunt vocum distantiae, videlicet proslambanomenos, /Bd. 2, Sp. 3/ hypate hypaton, parhypate hypaton, lichanos hypaton, hypate meson, parhypate meson, lichanos meson, quae notantur literis his: ⋅A⋅B⋅C⋅D⋅E⋅F⋅G⋅ vel secundum quorumdam annotationem ⋅F⋅G⋅A⋅B⋅C⋅D⋅E⋅.
[s.XII]
Theinr. Dov. tab. 3-2. Theinr. Dov. 3, 6, 8.
[s.XIV]
Iac. Leod. spec. 6, 9, 4 descr. al.
[s.XV]
Georg. Ans. descr. B (p. 128).
5 im System: (FF) Γ A BˢC D EˢF G aˢbˢˢc d eˢf g  (    ) in the system: (FF) Γ A BˢC D EˢF G aˢbˢˢc d eˢf g  (    )
a generell general
[s.X-XI]
Ps.-Odo mus. p. 273a: Propterea eaedem litterae, quae sunt a prima in septimam, eaedem fiunt a septima in ultimam, et ipsae litterae, quae fiunt ab octava in undecimam, sequuntur post ultimam, ut sint tres ordines similium litterarum. Primus enim versus maioribus notatur litteris ... Secundus vero versus minoribus litteris et alia figura formatis ... describitur. Tertius vero versus, quia superfluus creditur, Graecarum potius litterarum forma notatur habens voces quinque ... Primus versus: ⋅Γ⋅A⋅B⋅C⋅D⋅E⋅F⋅G⋅. Secundus versus: ⋅G⋅a⋅b⋅⋅c⋅d⋅e⋅f⋅g⋅. Tertius versus: ⋅g⋅⋅⋅⋅⋅Λ⋅ (formae litterarum secundum cod. Firenze BN Conv. Soppr. F.III.565). al. Ps.-Odo dial. p. 253b: Figurae autem et voces et litterae per ordinem ita ponuntur: ⋅Γ⋅ I ⋅A⋅ II ⋅B⋅ III ⋅C⋅ IIII ⋅D⋅ V ⋅E⋅ VI ⋅F⋅ VII ⋅G⋅ VIII ⋅a⋅ IX I ⋅b⋅ IX II ⋅⋅ X ⋅c⋅ XI ⋅d⋅ XII ⋅e⋅ XIII ⋅f⋅ XIIII ⋅g⋅ XV ⋅⋅. al. Berno prol. 5, 16 app. crit.: [tercia (sc. species diatessaron) ⋅C⋅D⋅E⋅F⋅]. al. Guido prol. 70 descr. (sim. Guido reg. 141, ex. 2). Guido micr. 2, 11. al. Guido reg. 12, ex. 1. Guido ep. p. 478, 172. al. Hermann. mus. p. 34 (p. 133) descr. al. Willeh. Hirs. 3 (c. 2), 12. al. Aribo 34 p. 4. al. Comm. Guid. 31 p. 118: ⋅A⋅ et ⋅E⋅, quae sibi sunt affines. al. Lib. argum. 49 p. 23. al. Lib. spec. 42 p. 34. al. Org. Mediol. rhythm. 84. Ps.-Guido arithm. p. 57a: habent quoque coniunctionem tetrachorda, quod Graece dicitur synaphe, in ⋅E⋅. al. Theophil. 3, 86 p. 158-159 (sim. Frut. brev. 16 p. 108). Frut. brev. 7 p. 55 descr. al. Frut. ton. p. 113. al. Ps.-Osbern. 41: Omnes voces in musica sunt viginti et una. Ex eisdem vocibus sunt quattuordecim regulares et naturales, septem additae et formales. Hae sunt naturales: ⋅A⋅B⋅C⋅D⋅E⋅F⋅G⋅a⋅⋅c⋅d⋅e⋅f⋅g⋅. al. Anon. Wolf p. 212. al. Quaest. mus. 1, 4 p. 15. al. Theog. Mett. 3, 6 (p. 184a). al. Ioh. Cott. mus. 9, 14 descr. al.
[s.XII]
Guido Aug. 55. al. Ton. Gratianop. p. 23. al. Ton. Parkm. p. 108. Ton. Cist. 22. al. Anon. Cist. I 31 p. 26. al. Anon. La Fage I 2, 3. al. Theinr. Dov. tab. 3-2. al. Anon. Pannain p. 112. al. Ton. Nivern. f. 141v p. 120. al. Ton. Seligenst. p. 108. al. Ton. Vatic. 12, 3 p. 192. al.
[s.XIII]
Mus. man. 10, 3: Moderni vero Latinorum peregrinis caracteribus propter simplices erasis domesticis potius eas (sc. voces musicae) litteris tradiderunt, eisdem videlicet, quas singulis hebdomadae diebus in kalendario deputaverunt: scilicet ⋅a⋅b⋅c⋅d⋅e⋅f⋅g⋅. al. Ton. Franc. p. 149b. Ioh. Aegid. 15, 8. al. Amerus 18, 4. al. Elias Sal. 1 p. 18a. al. Anon. Couss. VII 12, 4. al. Lambertus p. 254a. al. Hier. Mor. 20 p. 157, 4. al. Trad. Garl. plan. I 133. al. Anon. Ratisb. 2, 13. al. Petr. Cruc. 1, 15. August. min. 163. al. Anon. Couss. IV p. 71, 11. al. Vers. Postquam pro 119. al. Ps.-Mur. summa 726. al. Engelb. Adm. 1, 9, 12. al. Walt. Odingt. 5, 5, 4. al.
[s.XIV]
March. luc. 11, 4, 103. al. Guido Dion. 1, 2, 14. al. Iac. Leod. comp. 2, 5, 12. al. Iac. Leod. spec. 5, 16, 3-8. Iac. Leod. spec. 6, 61, 7. al. Hugo Spechtsh. comm. p. 35. al. Quat. princ. 2, 4. al. Summ. Guid. 62 (inde Gob. Pers. p. 189b. Szydlov. 11 p. 44). al. Ioh. Boen ars 2, 19, 6. al. Ioh. Boen mus. 1, 13. al. Willelm. 2, 10. al. Goscalc. 1, 1 p. 34, 2. al. Heinr. Eger 2 p. 36. al. Comm. Boeth. II p. 314, 10. al. Anon. Ellsworth 4 p. 224, 3. al. Cart. plan. 12. /Bd. 2, Sp. 4/ Mut. Ad noticiam 22: Et sciendum, quod ⋅ee⋅ a modernis musicis est addita propter perfeccionem septem cantus vel gradus. Anon. Seay p. 28. Anon. Monac. II 47.
[s.XV]
Ioh. Olom. 3 p. 8. al. Ioh. Cicon. mus. 1, 17 p. 78, 11. al. Iac. Twing. p. 112, 9: Tercius tonus tres habet claves seu litteras iniciales, scilicet ⋅e⋅, ⋅g⋅ et ⋅c⋅. al. Gob. Pers. p. 183a. al. Anon. Claudifor. 1, 3, 3 (sim. Mut. Christo 30). al. Ugol. Urb. 1, 8, 2: ⋅E⋅la, quod ⋅E⋅ ultra manus sedes ratione iam dicta dicitur collocari (sim. Fr. Gafur. extr. 4, 2, 2). al. Tact. Octo princ. 76. al. Tact. Opusculum 146. al. Tact. Concordanciarum p. 167, 21. al. Georg. Ans. 3, 8. al. Arn. Zwoll. p. 26 descr. al. Tact. Reperi 83. al. Anon. Carthus. theor. 16, 12: Habet ergo nunc ipsum monocordum, manus seu scala musicalis nostris temporibus 20 gradus musicales sub hiis litteris et figuris, sic: ⋅Γ⋅A⋅B⋅C⋅D⋅E⋅F⋅G⋅a⋅b⋅♯⋅c⋅d⋅e⋅f⋅g⋅aa⋅bb⋅♯♯⋅cc⋅dd⋅. Anon. Carthus. pract. 16, 41, 1. al. Trad. Holl. I p. 162. al. Mut. Christo 38. al. Ioh. Legr. rit. 1, 1, 3, 38. al. Tact. Bona 52. al. Conr. Zab. tract. K 1. al. Clavic. Ad faciendam p. 229, 13. al. Ioh. Tinct. diff. 107: ⋅E⋅ est clavis utriusque ⋅E⋅lami et ⋅e⋅la (sim. Ioh. Tinct. exp. 3, 50). al. Fr. Gafur. extr. 4, 1, 4-6. al. Ioh. Tinct. exp. 3, 4. al. Fr. Gafur. op. 5, 6. Bart. Ram. 1, 1, 3 p. 9. al. Nicol. Burt. 1, 13, 80. al. Guil. mon. 5 p. 30. al. Bonav. Brix. 7, 2. al. Adam Fuld. 2, 4. al. Lad. Zalk. A 29. al. Fr. Gafur. theor. 5, 6. Guill. Pod. ench. 21 p. 383: Unde quemadmodum apud antiquos per ⋅a⋅b⋅c⋅d⋅e⋅f⋅g⋅ dinumerabantur, ita et nunc per ⋅g⋅a⋅b⋅c⋅d⋅e⋅f⋅ et littere vel signa Gregorii apellantur (sim. Guill. Pod. 5, 7). al. Guill. Pod. 5, 12. al. Anon. Couss. I p. 434 descr. Szydlov. 2 p. 12. al. Mon. A gamma p. 138, 10-12. Mon. Ad inveniendum p. 223, 21 descr. Mon. Cum primum 2. Mon. Divide gamma p. 141, 14-15. Mon. Dividitur p. 178, 5. Mon. Figure p. 174, 3. al. Mon. Gamma novem p. 109. Mon. In primis ad levam p. 172, 4. al. Mon. Mon. disparat. 2. Mon. Mon. regulare p. 179, 23-24. Mon. Partire gamma p. 140, 6-7. Mon. Qui desideras p. 91-92. Mon. Si quem p. 245, 5. Mon. Si vis facere p. 173, 7. al. Fist. Cuprum pur. 33 p. 58.
b auf die Stellung im System bezogen with reference to the position within the system
[s.X-XI]
Ps.-Odo mus. p. 269a: a secunda ⋅B⋅ voce in quintam ⋅E⋅. al. Ps.-Odo dial. p. 254b: a prima voce ⋅A⋅ in quintam ⋅E⋅. al. Guido ep. p. 482, 188. Frut. brev. 13 p. 97: Quinta (sc. chorda) hypate meson, id est princeps mediarum, dicitur et ⋅E⋅ insignitur. al.
[s.XII]
Ton. Gratianop. p. 28: duodecimam ⋅e⋅. al.
[s.XIII]
Amerus 15, 2: ⋅e⋅ sexta. ibid. al. Engelb. Adm. 4, 26, 14: prima ⋅A⋅ concordat cum quarta ⋅D⋅, ⋅B⋅ secunda cum ⋅E⋅ quinta.
[s.XIV]
Iac. Leod. spec. 2, 120, 3: a ⋅D⋅ quarta ... in ⋅e⋅ decimam nonam. al. Hugo Spechtsh. comm. p. 135. al. Anon. Michaelb. I p. 47: quinta ⋅E⋅, ... decima tertia ⋅e⋅.
[s.XV]
Georg. Ans. 2, 126. al. Anon. Carthus. pract. 16, 41, 4: ⋅ee⋅, qui est ultimus gradus monocordi. Fr. Gafur. extr. 3, 8, 2. al. Ioh. Tinct. exp. 3, 10. al. Fr. Gafur. op. 5, 6. Bonav. Brix. 15, 68. al. Fr. Gafur. theor. 5, 6. Guill. Pod. 2, 12. al.
c auf das griechische System bezogen (für hypate meson - nete diezeugmenon - [eperipapancos, orexion]) with reference to the Greek system (for hypate meson - nete diezeugmenon - [eperipapancos, orexion])
[s.IX-X]
Hucbald. 40: ⋅E⋅ nete diezeugmenon (additio posterior). Hucbald. 41: ⋅e⋅ parhipate meson (additio posterior ex errore).
[s.XI]
Berno prol. 6, 16 app. crit.: [inter ⋅E⋅ et ⋅e⋅, idest inter ypate meson et nete diezeugmenon]. al. Aribo 3-6 p. 11 (inde Quaest. mus. 1, 6 p. 16). Ton. Aug. p. 83. al. Frut. brev. 5 p. 45. al. Anon. Wolf p. 197. al. Ioh. Cott. mus. 13, 20. al.
[s.XIV]
March. luc. 15, 1, 16. al. Iac. Leod. spec. 6, 22, 10. al. Heinr. Eger 2 p. 38. Anon. Ellsworth /Bd. 2, Sp. 5/ 3 p. 200 sqq. (cf. Boeth. mus. 1, 20). al.
[s.XV]
Ioh. Cicon. mus. 1, 21 p. 98 descr. al. Gob. Pers. p. 183a. Ugol. Urb. 1, 6, 5. al. Thom. Bad. p. 92: ⋅d⋅e⋅f⋅g⋅, que sunt lychanos ypaton, idest ⋅d⋅solre, ypate meson, idest ⋅e⋅lami eqs. Anon. Carthus. theor. 14, 87. al. Ioh. Legr. rit. 1, 3, 3, 8-10. Tab. Catan. p. 142: ⋅E⋅la eperipapancos. Fr. Gafur. extr. 3, 8, 2. Fr. Gafur. op. 5, 8. Adam Fuld. 2, 9 descr.: ⋅E⋅ hypate meson ... ⋅e⋅ nete diezeugmenon ... ⋅ee⋅ orexion. Fr. Gafur. theor. 5, 8. Guill. Pod. 3, 13. al.
d auf das Oktavsystem bezogen with reference to the octave system: ⋅E⋅ gravis (-e), ⋅E⋅ primum, ⋅E⋅ inferior (-ius), ⋅E⋅ bassum - ⋅e⋅ acuta (-um), ⋅e⋅ secundum, ⋅e⋅ superior (-ius), ⋅e⋅ altum, ⋅e⋅ media - superacuta (-um), ⋅ ⋅ tertium, ⋅ ⋅ excellens
[s.X-XI]
Ps.-Odo dial. p. 260b: usque ad ... ⋅e⋅ acutam. Berno prol. 6, 16 app. crit. Guido micr. 2, 4: septem alphabeti litterae graves ... ⋅A⋅B⋅C⋅D⋅E⋅F⋅G⋅. Post has eaedem septem litterae acutae repetuntur, ... ita: ⋅a⋅b⋅⋅c⋅d⋅e⋅f⋅g⋅ (inde Metrol. 26-27 p. 69). Guido ep. p. 510, 306: ⋅d⋅e⋅f⋅ acute. Comm. Guid. 93 p. 124. al. Anon. Lips. p. 157: usque ad ⋅e⋅ acutum. ibid. al. Frut. brev. 8 p. 60: ad ⋅e⋅ superiorem. Frut. brev. 87 p. 61: ad ⋅E⋅ inferiorem. Quaest. mus. 2, 25 p. 92. Theog. Mett. 17, 4 (p. 189a): habet medium terminum ⋅E⋅ grave. al.
[s.XII]
Trad. Guid. 1: Graves ⋅A⋅B⋅C⋅D⋅E⋅F⋅G⋅. Acutae ⋅a⋅b⋅♮⋅c⋅d⋅e⋅f⋅g⋅ eqs. Guido Aug. 448. al. Anon. La Fage I 1, 2-3.
[s.XIII]
Mus. man. 4, 8. al. Disc. pos. vulg. p. 191, 20. al. Ton. Franc. p. 126a. al. Amerus 5, 12. al. Lambertus p. 261a. al. Trad. Lamb. 2, 2a, 2: superacutae ... ⋅a⋅b⋅c⋅d⋅e⋅. al. Anon. Emmeram. 5 p. 274, 24. al. Hier. Mor. 14 p. 60, 9. al. Trad. Garl. plan. I 143 descr. August. min. BV 72: Gravia sunt ista octo: ⋅Γ⋅ grave, ⋅A⋅ grave, ⋅B⋅ grave, ⋅C⋅ grave, ⋅D⋅ grave, ⋅E⋅ grave, ⋅F⋅ grave, ⋅G⋅ grave. al. Ton. Sar. p. 11. al. Interv. Sit -O 15. al. Vers. Postquam pro 164. al. Ioh. Groch. 229. al. Ps.-Mur. summa 805. al. Engelb. Adm. 2, 26, 20. al. Walt. Odingt. 5, 8, 4. al.
[s.XIV]
March. luc. 9, 1, 40. al. Guido Dion. 1, 3, 6. al. Iac. Leod. comp. 2, 4, 17: ⋅⋅⋅⋅ vero superacutae. al. Iac. Leod. spec. 5, 18, 7. Iac. Leod. spec. 6, 32, 20: ad ⋅e⋅ superius... ad ⋅E⋅ inferius. al. Hugo Spechtsh. comm. p. 64: ⋅E(!) acutum seu parvum. al. Quat. princ. 3, 4. al. Willelm. 2, 8. Goscalc. 1, 8 p. 92: Tercius (sc. locus mutationis) est in ⋅E⋅lami basso. ibid.: Nonus locus est in ⋅E⋅lami alto. al. Anon. Monac. II 39: finit in ⋅ee⋅ superacuto. al.
[s.XV]
Ioh. Olom. 3 p. 9: excellentes sive superacutae a cantoribus nuncupantur ... ⋅aa⋅bb⋅cc⋅dd⋅ee⋅. al. Ioh. Cicon. mus. 1, 19 p. 82, 13. al. Prosd. mon. 3, 7: primum ⋅E⋅. Prosd. mon. 6, 4: secundum ⋅E⋅. al. Prosd. spec. p. 750. al. Anon. Claudifor. 5, 3, 10. al. Ugol. Urb. 1, 17, 6: ⋅E⋅ grave vel primum. Ugol. Urb. 2, 33, 3: ad ⋅E⋅ tertium. al. Georg. Ans. 3, 67. al. Anon. Philad. 9 descr. al. Thom. Bad. p. 85: speculetur quedam fleuta inter ⋅d⋅ grave et ⋅e⋅ grave. al. Anon. Carthus. theor. 5, 13. al. Trad. Holl. I p. 168. al. Trad. Holl. II 49 p. 8 (p. 418b). al. Ioh. Legr. rit. 2, 1, 2, 2. al. Ioh. Tinct. diff. 109. al. Fr. Gafur. extr. 7, 4, 12. al. Ioh. Tinct. nat. 2, 5. al. Ioh. Tinct. contr. 1, 7, 2. al. Ioh. Tinct. exp. 3, 20 descr. al. Fr. Gafur. op. 5, 8. al. Bart. Ram. 1, 1, 5 p. 15. al. Nicol. Burt. 1, 16, 94: mediae ⋅a⋅b⋅c⋅d⋅e⋅f⋅g⋅. al. Guil. mon. 5 p. 30. al. Bonav. Brix. 8, 6. al. Lad. Zalk. A 54 descr. al. Fr. Gafur. theor. 5, 8. Guill. Pod. 4, 5. al. Fr. Gafur. pract. 1, 7. al. Compend. mus. 59: ⋅E⋅ grave et primum. ibid.:e⋅ acutum et secundum. al. Szydlov. 2 p. 13. al. Mon. Divide primo p. 224, 2-3: ⋅e⋅ primum ... ⋅e⋅ 2um... ⋅e⋅ 3um. Mon. Fac lineam p. 183, 8. al. Mon. Figure p. 174, 3-4. Mon. Longitudinem p. 150, 7-8. Mon. Mon. tuum 2. al. Mon. Primo accipe p. 220, 11. al. Mon. Quatuor /Bd. 2, Sp. 6/ p. 146, 6. al. Mon. Si mon. II p. 27, 9. al. Organistr. A prima 3. al. Organistr. Volens II p. 206, 22. al. Fist. Ad fistulas 12 p. 132. al. Fist. Formata prima 2 p. 135. al.
e auf die Funktion im Tonartensystem bezogen with reference to function within the system of modes: ⋅E⋅ finalis, mediatrix ⋅E⋅
[s.XI]
Guido micr. 11, 25: finales voces statuerunt ⋅D⋅E⋅F⋅G⋅ (ad loc.: Comm. Guid. 81 p. 138). Guido micr. 19, 14: Ecce distinctio in deutero ⋅E⋅. Aribo 34 p. 4 descr.: ⋅D⋅E⋅F⋅G⋅ finales communes et plagalium cingula et autentorum claves. ibid. al. Comm. Guid. 72 p. 122. al. Lib. spec. 32 p. 50. Ps.-Osbern. 68: Mediatrices plagalium: ⋅D⋅E⋅F⋅G⋅. al. Quaest. mus. 2, 26 p. 94 descr. al. Theog. Mett. 34, 1 (p. 193b): Quartus ubicumque incipiat in ⋅E⋅ finali. Ioh. Cott. mus. 11, 10 (inde Conr. Zab. tract. AV 1). al.
[s.XII]
Guido Aug. 474: ⋅d⋅e⋅f⋅g⋅ principales ac maxime finales vocantur. al. Anon. La Fage I 7, 27. al. Anon. Pannain p. 113: ⋅E⋅ finalis cum ⋅b⋅ quadrato, eius affinali (ms.; ed.: finali), eodem modo concordat. al.
[s.XIII]
Mus. man. 41, 19 descr. Mus. man. 41, 36: tertium tonum iuxta mediatricem ⋅E⋅. al. Ioh. Aegid. 12, 19. Amerus 22, 22. al. Petr. Cruc. 1, 12. Ton. Lips. p. 98: primus tonus in officiis duas habet differentias et septem litteras inceptivas: ⋅C⋅D⋅E⋅F⋅G⋅a⋅c⋅. al. Engelb. Adm. 4, 33, 2. al. Walt. Odingt. 5, 8, 9 descr.
[s.XIV]
Iac. Leod. spec. 6, 41, 6. al. Hugo Spechtsh. comm. p. 136. Quat. princ. 3, 25. al. Heinr. Eger 5 p. 55.
[s.XV]
Gob. Pers. p. 195b. Anon. Claudifor. 4, 4, 1. al. Georg. Ans. 3, 61. Trad. March. 356. Anon. Carthus. nat. 2, 19. al. Trad. Holl. II 57 p. 9 (p. 419a): ⋅D⋅E⋅F⋅G⋅ dicuntur finales, quia omnis cantus regulariter compositus et non transpositus in eis terminatur. al. Trad. Holl. VI 25, 8. al. Conr. Zab. tract. BF 8. Guil. mon. 5 p. 30. Lad. Zalk. B 60. al. Fr. Gafur. pract. 1, 7: in propriam finalem, scilicet ⋅E⋅lami gravem. Szydlov. 2 p. 14. al.
f auf das Tetrachordsystem bezogen with reference to the tetrachord system: ⋅E⋅ finalis, ⋅e⋅ acuta, ⋅e⋅ superacuta (-um), ⋅ ⋅ excellens
[s.XI]
Hermann. mus. p. 27 (p. 129b). Hermann. mus. p. 49 (p. 141a): ⋅E⋅ secunda finalium. al. Willeh. Hirs. 10 (c. 9), 16. al. Aribo 3 p. 25: ab ⋅E⋅ finali. al. Frut. brev. 7 p. 53. Ps.-Osbern. 58: secunda excellentium ⋅e⋅. al. Anon. Wolf p. 218. al. Quaest. mus. 2, 26 p. 94 descr.: a ⋅B⋅ gravi ad ⋅e⋅ excellentem. ibid. al. Ioh. Cott. mus. 11, 23 (sim. Anon. Pannain p. 110).
[s.XII]
Anon. Pannain p. 409. al.
[s.XIII]
Amerus 23, 6. Hier. Mor. 13 p. 56, 31: ⋅D⋅E⋅F⋅G⋅ ... communes finales appellantur ... ⋅e⋅f⋅g⋅⋅ ... vocantur superacutae. Hier. Mor. 13 p. 57, 28: sextum vero et ultimum, quod est a ⋅⋅mi excellenti in ⋅⋅ similiter excellens, tetrachordum excellentium dicitur. al. Anon. Ratisb. 8, 3, 3. al. Engelb. Adm. 4, 21, 2: inter ⋅E⋅ secundam finalium et ⋅E⋅ secundam excellencium. al.
[s.XIV]
Iac. Leod. spec. 6, 26, 1. al. Quat. princ. 3, 23. Summ. Guid. comm. 2, 65. al.
[s.XV]
Iac. Theat. 1. Gob. Pers. p. 190b. al. Ioh. Floess 35: ⋅ee⋅ geminato superacuto (cf. Cahn, Floess p. 25). Ioh. Floess 57 descr. al. Anon. Claudifor. 1, 4, 7: ⋅ee⋅, ⋅ff⋅, ⋅gg⋅, ⋅aa⋅ dicuntur superacutae (sim. Mut. Christo 53). al. Anon. Philad. 9 descr. al. Trad. Holl. II 57 p. 9 (p. 419a): primae quattuor claves, scilicet ⋅G⋅ Grecum ⋅Γ⋅<⋅A⋅B⋅C⋅> (ms.; ed.: ⋅G⋅ grave cum ⋅Γ⋅), dicuntur graves ... Sequentes vero quattuor, scilicet ⋅D⋅E⋅F⋅G⋅, dicuntur finales, ... sequuntur quattuor, scilicet ⋅a⋅b⋅c⋅d⋅, quae dici possunt afinales, ... quattuor claves ..., scilicet ⋅e⋅f⋅g⋅aa⋅, dicuntur acutae, ... ultimae quattuor, scilicet ⋅b⋅c⋅d⋅e⋅, dicuntur excelentes. al. Man. Guid. p. 149 (p. 466) descr.: Finales: ⋅D⋅E⋅F⋅G⋅ ... superacutae ⋅e⋅f⋅g⋅aa⋅ ... duplicatae seu excellentes: ⋅bb⋅cc⋅dd⋅e⋅. Trad. Holl. III 6 p. 46. al. Mut. Christo 43. al. Conr. Zab. tract. p. 240- /Bd. 2, Sp. 7/ 241 descr.: graves: ⋅Γ⋅A⋅B⋅C⋅; finales: ⋅D⋅E⋅F⋅G⋅; acutae (hic incipiunt organistae geminare litteras): ⋅a⋅b⋅⋅c⋅d⋅; superacutae: ⋅⋅⋅⋅⋅; excellentes: ⋅⋅⋅<⋅⋅⋅>⋅e⋅. Adam Fuld. 2, 4 descr. Lad. Zalk. A 54 descr.: ⋅d⋅e⋅f⋅g⋅ finales ... ⋅e⋅f⋅g⋅aa⋅ acutae vel superacutae ... ⋅bh⋅cc⋅dd⋅ee⋅ excellentes. al. Mich. Keinsp. 3, 29 descr. al. Szydlov. 2 p. 14. al.
g auf das Solmisationssystem bezogen with reference to the system of solmisation: ⋅E⋅lami - ⋅e⋅lami - ⋅ ⋅la
[s.XI-XII]
Ps.-Osbern. 51 (additio posterior?) al. Trad. Guid. 1 descr. (additio posterior?). Mut. Γma ut 6.
[s.XIII]
Org. Vatic. p. 185. Anon. Lovan. p. 493b. al. Disc. Quicumque II 1, 7. al. Metrol. 31 p. 70. al. Ioh. Aegid. 5, 2. al. Amerus 5, 26: ⋅E⋅lami habet duas notas et duas mutaciones. al. Lambertus p. 254b. al. Hier. Mor. 10 p. 46, 15. al. Trad. Garl. plan. I 143 descr. al. Anon. Ratisb. 2, 28. Ton. Sar. p. 8. al. Ioh. Groch. 90. al. Ps.-Mur. summa 726: in radice medici posuerunt ⋅E⋅lami. al. Engelb. Adm. 1, 9, 17. al.
[s.XIV]
March. luc. 8, 2, 8. al. Guido Dion. 1, 2, 25. al. Iac. Leod. spec. 5, 34, 9: ⋅e⋅lami acuta. al. Hugo Spechtsh. 35. al. Petr. Palm. p. 516. Quat. princ. 3, 9. al. Summ. Guid. comm. 1, 51. al. Ioh. Boen ars 2, 23, 14. Ioh. Boen mus. 1, 3. al. Goscalc. 1, 1 p. 34, 9. al. Heinr. Eger 2 p. 36. al. Anon. Ellsworth 3 p. 210 descr. al. Mut. Ad noticiam 33 (sim. Lad. Zalk. A 50). al. Anon. Seay p. 22. al. Anon. Monac. II 3. al.
[s.XV]
Ioh. Olom. 2 p. 7: ⋅e⋅lami in summitate indicis in linea. al. Iac. Twing. p. 96, 2. al. Gob. Pers. p. 183b. al. Anon. Claudifor. 1, 1, 5. al. Ugol. Urb. 1, 6, 7: ⋅E⋅la. al. Tact. Octo princ. 6. al. Arn. Zwoll. p. 12. Thom. Bad. p. 92. Anon. Carthus. pract. 5, 13. al. Trad. Holl. I p. 165. al. Trad. Holl. II 53 p. 8 (p. 418b): aditur ⋅e⋅la extra manum. al. Trad. Holl. III 1 p. 17. al. Mut. Christo 36. al. Conr. Zab. tract. DD 1. al. Clavic. Fac diclavium 8-9. Ioh. Tinct. diff. 108: ⋅E⋅la est spatium, cuius clavis est ⋅e⋅, et in quo unica vox, scilicet la, canitur per  durum ex loco ⋅g⋅solreut acuto. ... ⋅E⋅lami est locus, cuius clavis est ⋅e⋅, et in quo duae voces, scilicet la et mi, canuntur. al. Fr. Gafur. extr. 3, 8, 5. al. Ioh. Tinct. nat. 2, 5. al. Ioh. Tinct. contr. 1, 7, 2. al. Ioh. Tinct. exp. 3, 50: ⋅E⋅ est clavis utriusque ⋅e⋅lami et ⋅e⋅la. al. Fr. Gafur. op. 5, 6. al. Bart. Ram. 1, 1, 4 p. 11. al. Nicol. Burt. 2, 4, 34. al. Guil. mon. 9 p. 57. al. Bonav. Brix. 7, 4. al. Adam Fuld. 2, 2. al. Lad. Zalk. A 48: Sed quia non videtur ratio, quod tertius b duralis maneret incompletus, ideo placuit amplecti viam Iohannis Holandrini, qui ponit ⋅e⋅la pro ultima voce monochordi Gwidonis et locavit eam sub vertice medii. al. Fr. Gafur. theor. 5, 6. al. Guill. Pod. 5, 13. al. Fr. Gafur. pract. 1, 4. al. Szydlov. 2 p. 13. al. Clavic. A1. al. Mon. A primo I p. 215, 6. al. Mon. Ab F p. 182, 8. al. Mon. Dividitur p. 178, 5. Mon. Esto linea p. 144, 11. al. Mon. Fac lineam p. 183, 8. al. Mon. Longitudinem p. 150, 3. al. Mon. Medietas p. 143, 4. Organistr. A prima 3. al. Fist. ad secundum 3 p. 135. al. Fist. Incipit mensura 4 p. 136. al. Fist. Si quis 5 p. 140. al.
h auf die Schreibweise bezogen with reference to the case of letters or their repetition: ⋅E⋅ magnum (maius), ⋅E⋅ grossum, ⋅E⋅ capitale - ⋅e⋅ parvum (parva, minus), ⋅e⋅ minuta (-um) - ⋅ ⋅ duplicata (duplex), ⋅ ⋅ geminatum
[s.XI-XII]
Ioh. Cott. mus. 5, 10: differt ... ⋅A⋅ capitale ab ⋅a⋅ minuto, sic ... ⋅E⋅ ab ⋅e⋅.
[s.XIII]
Trad. Garl. plan. I 111: magnum ⋅E⋅o⋅, cuius medietas est parvum ⋅E⋅o⋅ (pro ⋅e⋅o⋅). al. Anon. Ratisb. 2, 2: litterae, quae capitales scribi debent: ⋅A⋅B⋅C⋅D⋅E⋅F⋅G⋅. Consequenter vero ponuntur eaedem litterae, scilicet ⋅a⋅b⋅c⋅d⋅e⋅f⋅g⋅, quae minutae vocantur. Interv. Sit -O 4: ⋅D⋅E⋅ magna sive gravia ... ⋅d⋅ et ⋅e⋅ parva ... ⋅dd⋅ee⋅ duplicia. al.
[s.XIV]
Hugo Spechtsh. comm. p. 65: ⋅E⋅ grossum. al.
[s.XV]
Ioh. Floess 35: in ⋅ee⋅ geminato /Bd. 2, Sp. 8/ superacuto. Ioh. Floess 167: ⋅e⋅ duplicata superacuta (cf. Cahn, Floess p. 25). Anon. Claudifor. 1, 5 descr. Anon. Carthus. pract. 14, 81: ⋅ee⋅ parvam, sed duplicatam. al. Trad. Holl. I p. 168. Trad. Holl. III 5 p. 37: ad ⋅e⋅ minutum acutum. al. Trad. Holl. VI 33, 17: inter ⋅d⋅ et ⋅e acutas sive minutas. Adam Fuld. 2, 9. Fr. Gafur. op. 5, 6 descr. Lad. Zalk. A 54 descr. Szydlov. 7 p. 30. al. Mon. In mon. mensura p. 135, 34: Ecce dyapason a minori ⋅e⋅ in maius ⋅E⋅. al.
i im Skalenausschnitt (H) C -  (c - ) (auch chromatisch erweitert) in Mensuren (vor allem von Tasteninstrumenten und Glocken) within the segment of scale (H) C -  (c - ) (sometimes chromatically further subdivided) in measurements (especially of keyboard instruments and bells)
[s.XI-XII]
Quaest. mus. 1, 26 p. 69.
[s.XIV]
Ars org. p. 100. al.
[s.XV]
Iac. Theat. 17 (sim. Cymb. Si vis 7, 2). ibid. al. Clavic. A-D. Clavic. Primo p. 148, 3. al. Mon. A labro p. 209, 3. al. Mon. A magada p. 208, 2. al. Mon. A primo I p. 215, 6. al. Mon. Fiat corpus p. 221, 13. al. Mon. Magdarum p. 207, 4. al. Mon. Metire p. 214. Mon. Mon. tuum 2. al. Mon. Neumarum p. 219, 2. al. Mon. Primo accipe p. 220, 11. al. Mon. Quatuor p. 146, 4. al. Organistr. A C p. 205, 4. Organistr. A magada p. 209, 4. al. Organistr. A magda in p. 205, 3: in finem VIIII passibus primus ponit ⋅E⋅. al. Organistr. In primis 5. Organistr. Omnes p. 207, 7. al. Organistr. Organicam p. 208, 3-5. Organistr. Pone p. 216, 7. al. Organistr. Si org. p. 213, 15. al. Organistr. Volens p. 206, 5. al. Fist. Ad fistulas 4 p. 131. al. Fist. Fistulae mens. 12 p. 129. Fist. In mensuris 1 p. 132. al. Fist. Incipit mensura 40 p. 139. Cymb. Arbitror 5, 10. Cymb. De repond. 6, 4. Cymb. Pone primam 10. Cymb. Si vis 7, 6. al.
j mit chromatischen Systemerweiterungen with additional chromatic divisions
[s.XII]
Theinr. Dov. 3, 10b, 8. al.
[s.XIII]
Interv. Sit -O 4: crux inter ⋅D⋅E⋅ magna. al.
[s.XIV]
Hugo Spechtsh. comm. p. 78. Goscalc. 1, 4 p. 56, 15: Tertia coniuncta accipitur inter ⋅D⋅ et ⋅E⋅ graves et signatur in ⋅E⋅ signo b, ubi dicitur fa. al. Cart. plan. 8. al. Anon. Seay p. 47.
[s.XV]
Ugol. Urb. mon. 10, 24. al. Tact. Octo princ. 17: ⋅e⋅lami♯. al. Thom. Bad. p. 85: speculetur quedam fleuta inter ⋅d⋅ grave et ⋅e⋅ grave. Trad. Holl. I p. 172: Secunda coniuncta accipitur inter ⋅D⋅ et ⋅E⋅ graves et, quia ibi mi in fa super ⋅e⋅ litteram transire denotatur, per ⋅b⋅ molle iterum significatur (sim. Trad. Holl. II 11 p. 30 (p. 427a). Trad. Holl. VI 33, 13. Lad. Zalk. A 74. Szydlov. 8 p. 35). al. Trad. Holl. II 29 p. 35 (p. 428b). Trad. Holl. VI 33, 17. Tab. Catan. p. 146: ⋅E⋅ per b agregata quantitate apothomes. al. Fr. Gafur. extr. 9, 8, 14: signatur b molle in ⋅e⋅ acutum. al. Bart. Ram. 1, 2, 5 p. 38. Lad. Zalk. A 78. Szydlov. 8 p. 38. Mon. Ab F p. 182, 14: semitonium inter ⋅d⋅solre et ⋅e⋅lami. al. Mon. Fac lineam p. 183, 11. al. Mon. Fiat corpus p. 222, 30. Mon. Longitudinem p. 150, 22. Mon. Primo accipe p. 220, 20: falsa, que cadit inter ⋅d⋅ et ⋅e⋅ graves. cf. LmL I, 8 col. 2, 16
k mit der Merksilbe ‚tur‘ in der Reihe ‚psal-li-tur per vo-ces is-tas‘ designated with the syllable ‘tur’ in the series ‘psal-li-tur per vo-ces is-tas’
[s.XV]
Bart. Ram. 1, 1, 7 p. 20: ⋅e⋅f⋅, idest ‚tur‘ ‚per‘ ... ⋅c⋅, scilicet ‚tas‘ ‚psal‘ et sequitur cum ⋅d⋅ ‚li‘ et cum ⋅e⋅ ‚tur‘. Bart. Ram. 1, 2, 1 p. 27: ⋅e⋅, quod ‚tur‘ nuncupavimus.
6 im System: A BˢC D EˢF G H IˢK L M (= trite synemmenon) N (= nete synemmenon)ˢO P Q in the system: A BˢC D EˢF G H IˢK L M (= trite synemmenon) N (= nete synemmenon)ˢO P Q
[s.XI]
Compil. Casin. 1, 24 descr.: ⋅E⋅ - corda caemar - simphonia varietas deuteri - metrum ypate meson. al. /Bd. 2, Sp. 9/
7 im System: A BˢC D EˢF G HˢI K L (H-L = tetrach. synemm.) MˢN O P (M-P = tetrach. diezeugm.)ˢQ R S (für die hypate meson) in the system: A BˢC D EˢF G HˢI K L (H-L = tetrach. synemm.) MˢN O P (M-P = tetrach. diezeugm.)ˢQ R S (for the hypate meson)
[s.XI]
Ps.-Berno mon. 4, 2: ⋅E⋅ hypate meson.
8 im System: A B CˢD E F GˢH I KˢL M N OˢP in the system: A B CˢD E F GˢH I KˢL M N OˢP
[s.XI]
Anon. Prag. 181: ⋅A⋅t⋅B⋅t⋅C⋅s⋅D⋅t⋅E⋅t⋅F⋅t⋅G⋅s⋅H⋅t⋅I⋅t⋅K⋅. al. cf. LmL I, 3 col. 1, 40.
9 im System: Γ aˢyˢbˢc dˢsˢeˢfˢrˢg hˢiˢkˢl m nˢo p in the system: Γ aˢyˢbˢc dˢsˢeˢfˢrˢg hˢiˢkˢl m nˢo p
[s.XII]
Theinr. Dov. tab. 3-2. Theinr. Dov. 3, 6, 14.
10 im System: aˢbˢˢc dˢeˢEˢfˢFˢg aˢbˢˢc d eˢf g a in the system: aˢbˢˢc dˢeˢEˢfˢFˢg aˢbˢˢc d eˢf g a
[s.XII]
Theinr. Dov. tab. 3-2. Theinr. Dov. 3, 6, 20: a ⋅d⋅ ad ⋅e⋅ quidem rotundam semitonium. al.
11 im System: Γ A BˢC D EˢF G H IˢK L (I-M = tetrach. synemm.) MˢN O P (M-P = tetrach. diezeugm.) QˢR S in the system: Γ A BˢC D EˢF G H IˢK L (I-M = tetrach. synemm.) MˢN O P (M-P = tetrach. diezeugm.) QˢR S
[s.XIII-XIV]
Walt. Odingt. 3, 4, 26: Si ⋅O⋅ duplicetur, fit ⋅G⋅, et ⋅N⋅ dupla facit ⋅F⋅, et ⋅M⋅ facit ⋅E⋅, ac ⋅L⋅ ⋅D⋅ describit, et ⋅K⋅ ⋅C⋅. Walt. Odingt. 3, 4, 32 descr. Walt. Odingt. 5, 4, 45 descr. al.
12 im System: a bˢc d eˢf g hˢiˢ♮ˢk l mˢn o p (q) in the system: a bˢc d eˢf g hˢiˢ♮ˢk l mˢn o p (q)
[s.XV]
Bart. Ram. 1, 1, 2 p. 5 descr. Bart. Ram. 1, 2, 5 p. 36 descr. Bart. Ram. 2, 1, 1 p. 67: si tenor sit ⋅f⋅e⋅f⋅, organum erit ⋅k⋅k⋅k⋅. al. Ioh. Hoth. exc. p. 21 descr. al.
[13 irrtümlich: in einem System Γ-G, A-G, A-D für die hypate meson und die paramese, wobei das Tetrachord der synemmenon (A-D) in die fortlaufende Reihe der Tonbuchstaben einbezogen wird erroneously: in a system Γ-G, A-G, A-D for the hypate meson and the paramese, through which the synemmenon tetrachord (A-D) is integrated into the progressing series of tonal letters]
[s.IX-XII]
Gloss. Boeth. mus. 1, 22, 138b: ⋅E⋅ Hypate meson principalis mediarum ... ⋅A⋅ Mese media ⋅B⋅ Trite synemmenon tertia coniunctarum ⋅C⋅ Paranete synemmenon diatonos coniunctarum extenta ⋅D⋅ Nete synemmenon ultima coniunctarum ⋅E⋅ Paramese prope media (cf. Wien cpv 55 fol. 167v; v. Smits v. W., Musikerziehung p. 85).
[s.XV]
Tab. Catan. p. 144: ⋅E⋅lami <paramese> (ms.: perame). al.
III Ausführungshinweis (‚gleich‘, bezogen auf die Tonhöhe) (littera significativa, ‚Romanusbuchstabe‘) direction for performance (‘equally’‚ with respect to pitch) (littera significativa, ‘Romanian letter’)
[s.IX-X]
Notk. Balb. p. 69: E, ut equaliter sonetur, eloquitur (inde Frut. brev. 14 p. 103. Anon. Wolf p. 205. Quaest. mus. 1, 23 p. 63. Compil. Lips. p. 132). Trad. Notk. p. 38: E iubet equari.
[s.XI-XII]
Quaest. mus. 1, 23 p. 63. cf. Smits v. W., Muziekgeschiedenis 2 p. 129; Floros, Neumenkunde 2 p. 138 sqq.
IV Intervallbuchstabe für den Einklang letter that designates the unison
[s.XI]
Hermann. expl. p. 149a: E voces unisonas aequat. (inde Frut. brev. 10 p. 82. Anon. Wolf p. 196. Ioh. Cott. mus. 21, 51. Iac. Leod. spec. 6, 73, 16). Trad. Hermann. I p. 108. Trad. Hermann. II 1. Ioh. Cott. mus. 21, 47: E vocum aequalitatem designat (inde Iac. Leod. spec. 6, 72, 20).
[s.XIII-XIV]
Ps.-Mur. summa 1151. cf. Phillips, Notationen p. 586 sqq.
V als Teil der Vokalreihe a e i o u zur musikalischen Inventionshilfe (a = Γ, e = A, i = B, o = C, u = D, a = E usw.) as part of the series of vowels a e i o u used to invent /Bd. 2, Sp. 10/ musical composition (a = Γ, e = A, i = B, o = C, u = D, a = E etc.)
[s.XI]
Guido micr. 17, 25: ⋅Γ⋅A⋅B⋅ ... ⋅f⋅g⋅⋅, ubi cum duobus ubique subsonis, in quibus quinque habeantur vocales. Aribo 63-66 p. 70. Comm. Guid. 59 p. 169: ita cum vocalibus conveniente et omni syllaba in sermone et omni sono in cantu, quidquid dicimus syllabis, cantare possumus in neumis. Lib. spec. 58 p. 53 sqq.: De uno subsono Guidonis. Lib. spec. 67 p. 54 sqq.: De quinque supersonis. Ioh. Cott. mus. 20, 8. Ioh. Cott. mus. 20, 12: Cum enim ego in praemisso cantu parhypate meson o i attribuerim, tu ibidem e i vel a o vel a u vel quidquid tale volueris, locare poteris, dummodo persistas in ordine, quem inceperis. al.
[s.XIII-XIV]
Walt. Odingt. 5, 6, 5. Quat. princ. 3, 7 p. 221b.
[s.XV]
Fr. Gafur. op. 5, 6.
VI Kennbuchstabe für eine Kirchentonart letter that identifies a mode
1 für die zweite Kirchentonart in einer erweiterten Vokalreihe for the second mode in an extended series of vowels (a = I, e = II, i = III, o = IV, u = V, η = VI, y = VII, ω = VIII)
[s.XI]
Frut. ton. p. 129. al. Ioh. Cott. mus. 11, 29: apud quosdam phtongi, id est toni, vocalibus, tonorum autem differentiae, quas quidam abusive diffinitiones vocant, consonantibus signantur hoc modo. Primum tonum a notat, secundum e, tertium i, quartum o, quintum u, sextum H Grecum, septimum y, octavum ω (sim. Anon. Pannain p. 108. Iac. Leod. spec. 6, 82, 5. Compil. Lips. p. 132). cf. Omlin, Tonarbuchstaben
2 für die fünfte Kirchentonart in der Reihe A B C D E F G H for the fifth mode in the series A B C D E F G H
[s.XIV]
Heinr. Eger 5 p. 49: E dulcis, laetus, recreans saltansque, modestus ipse voluptatis, ideo ⋅b⋅ molle tenebit.
e molle Bezeichnung für die Halbtonstufe zwischen D und E term that designates the semitone that falls between D and E
[s.XIII]
Anon. Couss. IV p. 71, 13: ⋅Emolle (ms.; ed.: <E> molle) per deutera sinemenon sicut ⋅c⋅E⋅ <molle> (ms.; ed.: c<E molle>) per semiditonum. Anon. Couss. IV p. 71, 24: sit ⋅C⋅C⋅ cantus vel tenor; organum potest ... terminari in ⋅c⋅ per diapason ... vel in ⋅E⋅ per ditonum vel in ⋅Emolle (ms.; ed.: <E> molle) per sinemenon et semiditonum. saepius
 
Artikelverweis 
ekmeles (ἐκμελής) ‚ekmelisch‘ (‚außerhalb des Melos‘), zur musikalischen Verwendung nicht geeignet ‘ekmelic’ (‘outside of melos’), not appropriate for musical usage
1 generell general
[s.VI]
Boeth. mus. 5, 6 p. 357, 10: Potest enim distantium sibique dissimilium vocum differentia deprehendi, in quibus, qui iuncti efficere melos possunt, εμμελεις dicuntur, εκμελεις autem, quibus iunctis melos effici non potest (ad loc.: Gloss. Boeth. mus. 5, 6, 9: ‚EKMEΛEIC‘: extra modulati. Gloss. Boeth. mus. 5, 6, 10: ‚EKMEΛEIC‘: extra modum). Boeth. mus. 5, 11 p. 361, 5: Non unisonarum autem vocum aliae quidem sunt aequisonae, aliae consonae, aliae emmelis, aliae dissonae, aliae ekmelis (inde Interv. Ex omni 18. Frut. brev. 9 p. 63. Ioh. Aegid. 11, 5. Hier. Mor. 15 p. 66, 8. Engelb. Adm. 2, 30, 4: alie emmeles, hoc est inconiuncte, alie ectimeles, hoc [est] coniuncte. Fr. Gafur. op. 2, 2. Fr. Gafur. theor. 2, 2). Boeth. mus. 5, 11 p. 361, 16: ekmelis vero, quae non recipiuntur in consonantiarum coniunctione (inde Ioh. Aegid. 11, 6. Hier. Mor. 15 p. 66, 22. Comm. Boeth. II p. 352, 24: ‚Ekmeles‘ vero dicuntur, id est sine melis, que non recipiuntur in consonanciarum coniunctione pro parvitate sui. Fr. Gafur. op. 2, 2. Fr. Gafur. theor. 2, 2).
[s.XIV]
/Bd. 2, Sp. 11/ Guido Dion. 1, 1, 116: Boetius ... concordantes sonos emmeles, idest aptos melo sive melodie, appellat; discordantes autem ekmeles nominat, idest melo sive melodie ineptos. Iac. Leod. comp. 1, 5, 7: ekmeles, id est melo ineptae seu in cantilena nullo modo cadentes, refutantur. Emmeles vero melo deputatae sunt. Sunt autem ekmeles soni, quorum velocitates ita sunt iunctae, ut colores in radiis eo, quod sensus eas nullo modo capiat modo. Iac. Leod. comp. 1, 5, 9: In quibus igitur nulla discretionis ratio sentitur, voces ekmeles sunt. Iac. Leod. comp. 1, 5, 21: Permissivae ergo voces emmeles erunt; ekmeles vero prohibitivae. Iac. Leod. spec. 1, 3, 3. Iac. Leod. spec. 2, 8, 3-5.
[s.XV]
Ugol. Urb. 5, 1, 18. Ugol. Urb. 5, 6, 9. Ugol. Urb. 5, 7, 6. Georg. Ans. 1, 128: voces .... dissone quidem et he, quas ecmeles nominant, aspre item et rauce, nullos produnt concentus. Georg. Ans. 2, 9: Ecmeles vero dictas voces et sonitus contemnit ars: inepte quidem sunt non coniungentes sonitus aut voces habentes proportiones iam dictas, quibus melodie sunt apte. Georg. Ans. 2, 145. Georg. Ans. 3, 5: voces ecmeles, ineptas et dissonas. Fr. Gafur. extr. 2, 1, 7. Nicol. Burt. 2, 1, 12: Aliae vero nomine ecmeles nuncupantur, idest extra omnem modulationis dulcedinem constitutae.
2 Intervalle betreffend with respect to intervals
[s.XI-XII]
Interv. Ex omni 23: Ekmeles autem dicuntur, quae in consonantiarum coniunctione, ut melos effici possit, non recipiuntur, ut ⋅B⋅ et ⋅F⋅ (sim. Frut. brev. 9 p. 63. Adam Fuld. 2, 7. cf. LmL col. 10, 61).
[s.XIII]
Hier. Mor. 15 p. 67, 10: Ekmeles autem sunt, quae diapente ac diatesseron dividunt, ut tonus ceteraeque proportiones simplices, scilicet earum partes (cf. Boeth. mus. 5, 11 p. 362, 5: Emmelis autem sunt ...). Engelb. Adm. 2, 30, 11: Echimeles autem sunt, que recipiuntur in consonanciarum coniunctione, non in divisione: ut sunt dyeses. ... Ex eodem genere sunt semitonium et semidytonus.
[s.XIV]
Iac. Leod. spec. 1, 26, 12: alii dissoni, qui nimis invicem prolati duri sunt et discordant, ut tritonus; alii <ecmeles> (mss.: emmeles), qui aliqualiter concordant, etsi non perfecte, non ponuntur in numero consonantiarum secundum antiquos, ut semiditonus, ditonus et huiusmodi.
[s.XV]
Ugol. Urb. 5, 7, 22: de vocibus, quae dicuntur ecmeles..., cuiusmodi est secunda et nona et consimiles. ibid. al. Fr. Gafur. op. 2, 2: Exmelles enim sunt, que non recipiuntur in consonantiarum coniunctione, ut est coniunctio quattuor vocum per se et septem vocum connexio vel undecim et huiusmodi. Nicol. Burt. 1, 9, 59. v. emolus
 
Artikelverweis 
ekmelicus -a, -um ‚ekmelisch‘ (‚außerhalb des melos‘), zur musikalischen Verwendung nicht geeignet ‘ekmelic’ (‘outside of melos’), not appropriate for musical usage
[s.XIV]
Ioh. Boen mus. 4, 50: Septimam ergo veluti secundam et alias proportiones a quatuor supradictis cum Boetio ekmelicas, id est non melicas, merito appellamus.
 
Artikelverweis 
elevatio -onis f. 1. (melodischer) Anstieg 2. Erhöhung (um einen Halbton) 3. Aufwärtsbewegung (beim Taktschlagen) 4. das Aufstellen, Hinaufdrehen (eines drehbaren Stegs (Drehtangente) bei der Drehleier) 1. (melodic) ascent 2. raising (by a semitone) 3. rising movement (when marking time) 4. the lifting by turning (of a turnable bridge (tuning-tangent) in a hurdygurdy)
1 (melodischer) Anstieg (melodic) ascent [syn.: arsis, ascensio, ascensus, intensio, intentio; opp.: depositio, depressio, descensus, positio, remissio, thesis]
a allgemein general
[s.VII]
Isid. etym. 3, 20, 9: Arsis est vocis elevatio, hoc est initium. Thesis vocis positio, hoc est finis (inde Aurelian. /Bd. 2, Sp. 12/ 5, 14. Hier. Mor. 4 p. 17, 25).
[s.IX]
Aurelian. 1, 15.
[s.X]
Inch. Uchub. 23. Mod. Ecce modorum 43: verum cantilenae corpus arsi et thesi, id est elevatione sonorum et positione, completur. Cant. Quid est cant. c. 483: Similiter et longa tribus modis ostenditur, in producta et acuta et circumflexa. Componuntur denique tam in elevatione quam et descensu aliquando ex duabus notis, aliquando ex tribus (inde Iac. Leod. comp. 2, 5, 23. Ioh. Cicon. mus. 2, 30 p. 298, 22). Ps.-Odo mus. p. 276b: omnis enim vox aut ad proximam, id est secundam a se, aut ad tertiam aut ad quartam sive ad quintam iuncta consonantiam reddit. Hoc autem aeque fit in depositione vel elevatione. al. Ps.-Odo dial. p. 254a: Maius spatium dicitur tonus ... Minus vero spatium ... semitonium vocatur faciens contractiorem elevationem vel depositionem. Ps.-Odo dial. p. 255b: Sex (sc. vocum coniunctiones) sunt tam in depositione quam in elevatione. Prima vocum coniunctio est, cum illae duae voces iunguntur, inter quas unum est semitonium ..., ut prima elevatio huius antiphonae „Haec est, quae nescivit“, in depositione vero per reciprocationem ita „Vidimus stellam“ (inde Iac. Leod. spec. 5, 17, 13). eqs.
[s.XI]
Guido micr. 16, 9: motus vocum, qui sex modis fieri dictus est, fit arsis et thesis, id est elevatio et depositio (inde Lib. argum. 8 p. 19. Anon. Pannain p. 416. Metrol. 3 p. 91. Amerus 8, 10. March. luc. 1, 5, 4. March. luc. 9, 1, 63. Anon. Michaelb. I p. 44. Ioh. Cicon. mus. 1, 3 p. 58, 4. Wencesl. Prach. 18. Trad. Holl. III pr. p. 15. Fr. Gafur. extr. 4, 10, 12. Fr. Gafur. extr. 6, 1, 3. Bonav. Brix. 2, 13. Bonav. Brix. 8, 28). al. Guido ep. p. 474, 156. al. Trad. Guid. II p. 87. al. Willeh. Hirs. 22 (c. 21), 7: in depositione ultimae neumae „Iustitiam tuam“ et in elevatione primae „Non abscondi“ diapason intervallum esse dinoscitur (inde Frut. brev. 10 p. 65). Mot. Musica est p. 154. al. Aribo 50 p. 16. al. Comm. Guid. 21 p. 110. al. Lib. spec. 70 p. 38. al. Mot. Omnis cantus p. 186. al. Ton. Aug. p. 82. al. Org. Mediol. rhythm. 67: Si autem hec elevatio cantui fuerit, non habilis depositio organo deerit. Ps.-Guido form. 3, 2. al. Ps.-Osbern. 88. al. Theog. Mett. 30, 4 (p. 192a). Ioh. Cott. mus. 23, 7: Fiunt igitur vocum motiones per arsin et thesin, id est per elevationem et depositionem. Ioh. Cott. mus. 23, 25: ubi in recta modulatione est elevatio, ibi in organica fiat depositio. al.
[s.XII]
Trad. Guid. 1. Anon. La Fage I 14, 2: Discantus cantui debet esse contrarius, non quia cum cantu debeat personare, sed in elevatione et depositione. Theinr. Dov. 3, 15b, 3. Anon. Pannain p. 113. Disc. Quicumque I 2: quanto vox maior est in elevatione, tanto minor est organice in depositione al. Ton. Vatic. 12, 1 p. 190.
[s.XIII]
Disc. Quicumque II 3, 2. Mus. man. 23, 11. Metrol. 31 p. 70. al. Trad. Garl. plan. V 157: Semitonium est coniunctio duarum vocum semiplenam elevationem reddens atque depositionem (inde Interv. Prima species p. 229. Contr. Volentibus I p. 24b). al. Engelb. Adm. 1, 4, 8: in musica ex duobus sonis per arsin et thesin, i. e. per elevacionem et depressionem vel e converso per thesin et arsin, i. e. per depressionem et elevacionem generatur tonus, qui est differencia prima vel primus modus consonancie musicalis. al.
[s.XIV]
Guido Dion. 1, 1, 98: Concordantia vero ... est regularis progressus ab uno sono ad alium per arsim et thesim, idest per elevationem et depressionem seu depositionem, sive per ascensum et descensum. al. Iac. Leod. comp. 2, 5, 12. al. Iac. Leod. spec. 6, 70, 2. al. Hugo Spechtsh. comm. p. 120. Petr. Palm. p. 508 eqs. al. Quat. princ. 3, 56: nimia intervallorum elevacio et deposicio nimia eque viciosum est. ibid.: uniformis sit in ecclesia vocum elevacio et deposicio. al. Anon. Michaelb. II p. 49. Comm. Boeth. II p. 314, 24. al. Compil. Ticin. F 273: Quid est cantus? Est elevatio et depositio vocum (sim. Iac. Theat. 37. Nicol. Cap. p. 310. /Bd. 2, Sp. 13/ Anon. La Fage III 242). al.
[s.XV]
Ioh. Olom. 1 p. 5. al. Gob. Pers. p. 195b (inde Conr. Zab. tract. BF 6). ibid. al. Anon. Claudifor. 6, 1, 8: in ultimis decem speciebus fit elevatio vel depressio vocum mediata causans intervallum seu saltum. al. Wencesl. Prach. 16. Ugol. Urb. 1, 1, 3. al. Georg. Ans. 3, 129. (?) Anon. Tegerns. I p. 105. Anon. Carthus. nat. 6, 8. Trad. Holl. I p. 161: totius cantus dulcis et aspera modulatio permutatim secundum elevationem et depositionem et consonantium varietatem ... explicatur. al. Trad. Holl. II 15 p. 19 (p. 423a). al. Trad. Holl. III 2 p. 20. al. Ioh. Legr. rit. 2, 2, 1, 13. Trad. Holl. VI 28, 6: Vide eciam, ne duas vel 3s consonancias maiores iuxta se ponas nulla alia mediante sive in elevacione sive in depressione. al. Conr. Zab. tract. BF 10. Ioh. Tinct. diff. 11. Ioh. Tinct. exp. 8, 3. al. Fr. Gafur. op. 5, 7. Bart. Ram. 1, 2, 1 p. 26: Vox igitur in plano non figuratur, sed vocis elevatio sive intensio et depressio sive remissio quodam modo repraesentatur. al. Ioh. Hoth. exc. p. 28. al. Nicol. Burt. 1, 28, 166 (cf. Ps.-Odo mus. p. 276a. inde Bonav. Brix. 22, 15). Adam Fuld. 2, 10. Lad. Zalk. A 21. al. Guill. Pod. 1, 8. al. Fr. Gafur. pract. 1, 8. Compend. mus. 87. Szydlov. 5 p. 19. al. Mens. Cum animadv. 17: Figura est signum et noticia vocis cum proprietate vel sine proprietate diversitatem secundum elevacionem et depressionem demonstrans. Contr. Volentibus I p. 24a. Cymb. Si vis add. 7.
b als Tonbereich oberhalb der Finalis as tonal register above the final
[s.X]
Cant. Quid est cant. c. 484: Sed tales antiphonae non finiuntur de tercio nec de sexto, ad cuius finem intendunt, sed de septimo, quia ipse sibi septimus in talibus discrecionem facit inter elevationem tercii et depositionem VI. ibid. al. Ps.-Odo dial. p. 263b: in his cantibus, qui inter octavi depositionem et septimi elevationem medii sunt (inde Trad. Garl. plan. V 269. Iac. Leod. comp. 2, 8, 19. Iac. Leod. spec. 6, 50, 13). al. Ps.-Odo prol. 6 (inde Comm. Boeth. II p. 4, 21).
[s.XI]
Guido micr. 11, 23: A finali itaque voce ad quintam in quolibet cantu iusta est depositio, et usque ad octavas elevatio (inde Ps.-Osbern. 16. Ton. Gratianop. p. 12. Metrol. 3 p. 78. sim. Trad. Holl. VI 25, 7). al. Guido ep. p. 526, 370: In plagis autem a finali voce ad quintas descendimus et ascendimus, nisi sit prolixior cantus, qui et plagalem depositionem et autenticam habeat elevationem (sim. Frut. brev. 8 p. 63). Willeh. Hirs. 38 (c. 37), tit.: Quod per elevationem et depositionem varie construantur tropi. Aribo 63 p. 32. al. Comm. Guid. 21 p. 142. al. Lib. spec. 32 p. 50: autenticas elevationes et plagales depositiones. al. Ps.-Guido form. ton. 2, 24. al. Ps.-Osbern. 25. al. Anon. Wolf p. 220. Quaest. mus. 1, 19 p. 42.
[s.XII]
Trad. Guid. 7: Mixtus vero cantus est, qui autenticam elevationem et depositionem videtur habere plagalem. Alius autem e converso plagalem habens elevationem et autenticam depositionem. Guido Aug. 519: Progressio consideratur secundum elevationem et depositionem (inde Ton. Cist. 8. Ioh. Aegid. 12, 6. Iac. Leod. spec. 6, 36, 5). al. Ton. Gratianop. p. 12. al. Ton. Cist. 32 (inde Ioh. Aegid. 12, 26). al. Anon. Cist. I 95 p. 33 (cf. Guido Aug. 296). al. Anon. Cist. II c. 1151A. Anon. La Fage I 9, 9. al. Ton. Nivern. f. 143r p. 122: Qualiter differt primus tonus a secundo? Elevatione et depositione (sim. Amerus 22, 6). eqs. al. Ton. Vatic. 12, 2 p. 191.
[s.XIII]
Anon. Lovan. p. 492b: Differunt autem (sc. toni autenti et plagales) per arsim et thesim, id est per elevationem et depressionem. al. Mus. man. 51, 26: Si repereris in uno eodemque cantu duo supradicta, scilicet elevationem supra sextam et nihilominus plus quam unius vocis depressionem sub finali, cantus anomalus, hoc est irregularis, et duplex iudicabitur. al. Metrol. 15 p. 79. al. Amerus 11, 2. al. /Bd. 2, Sp. 14/ Hier. Mor. 21 p. 159, 27. Trad. Garl. plan. V 251. al. Petr. Cruc. 1, 22. Ton. Sar. p. 1. al. Ioh. Groch. 51: dicitur (sc. tonus) de elevatione, depressione et fine cantus. Engelb. Adm. 4, 17, 8: deuterus et tritus obponuntur, quia unius elevacio est alterius deposicio. al. Walt. Odingt. 5, 8, 10. al.
[s.XIV]
March. luc. 11, 3, 4. Guido Dion. 2, pr. 219. al. Iac. Leod. comp. 2, 5, 8: Transformatio in tonis est trans tropicam formam elevatione vel depressione vocis debacchatio. Iac. Leod. spec. 6, 36, 7: nec solum ad iudicandum, cuius toni sit aliquis cantus, facit inspectio elevationis et depositionis illius respectu finis, sed etiam principii consideratio. al. Hugo Spechtsh. comm. p. 131. al. Quat. princ. 3, 46: A finali autem voce omnis cantus oportet regulas suscipere et suas elevaciones et deposiciones sive et principia et distinctiones ac neupmas et differencias. al. Ps.-Mur. interv. p. 312a: Tonus meses est, qui neque authenticam elevationem habet neque plagalem depositionem. Goscalc. 1, 7 p. 80, 16. Compil. Ticin. C 190. al.
[s.XV]
Ioh. Cicon. mus. 2, pr. p. 236, 13. al. Iac. Theat. 17. Nicol. Cap. p. 317. al. Gob. Pers. p. 188b: Caveant autem plagales elevationem diapente omnino, diatessaron vero supra et infra libere fiat. Ugol. Urb. 1, 29, 8. al. Ps.-Guido corr. p. 51b: in troporum seu modorum elevatione depressioneque contra regulas musicorum peccaverunt. Trad. Holl. I p. 177. al. Trad. Holl. III 7 p. 48. Trad. Holl. VI 26, 8: Nam aliquando adeo cantus elevatur et deprimitur, ut propter elevacionem non sit plagalis nec propter depressionem sit autentus. al. Paul. Paulir. 7, 2, 1 p. 60. al. Fr. Gafur. op. 5, 8. Bart. Ram. 1, 3, 2 p. 55. Nicol. Burt. 1, 23, 145. Lad. Zalk. B 3: de elevatione et depressione regularium cantuum dantur aliquae regulae. ibid. al. Guill. Pod. 4, 18. al.
2 Erhöhung (um einen Halbton) raising (by a semitone) [opp.: depressio]
[s.XIV]
March. pom. 17, 3. Ioh. Boen mus. 3, 39: b fa littera signum est depressionis note sequentis in eadem clave, et ♮ mi nota elevationis.
[s.XV]
Ioh. Olom. 7 p. 31: dicitur (sc. semitonium) a ‚semis‘, quid est ‚dimidium‘, et ‚tonus‘, quia propter mollem elevationem et depressionem, quam habet respectu toni, dimidium tonum continere (ms.; ed.: connexae) dignoscitur. Tact. Opusculum 134: Pro quo nota, quod, quandocumque tercie ad unisonum tendentes sunt, semper debent esse depresse. Sed dum formantur tercie ad quintam tendentes, tales debent esse elevate. Si non sunt proprie claves elevationis, [et] tunc addentur semitonia. Sunt autem 3e quattuor, scilicet re fa, mi sol, ut mi, fa la, ex quibus prime due dicuntur depresse, relique vero due elevate. Anon. Carthus. pract. 10, 4: in ⋅b⋅fa⋅♯⋅my, cuius my elevatio et depressio fa in eodem gradu inter se faciunt semitonium maius. Bart. Ram. 1, 2, 5 p. 40: si in ⋅g⋅solreut sit vocula signata  praecedente, et in eodem sit altera isto ♮ praecedente, licet unisonus videantur, tamen propter primae depressionem et secundae elevationem semitonii mi fa.
3 Aufwärtsbewegung (beim Taktschlagen) rising movement (when marking time) [opp.: depositio]
[s.XV]
Guill. Pod. 7, 8: Tempus est comparatio brevis ad semibrevem, merito ita dicta, semibrevis enim, in qua ipsa relatio terminatur, unicam et integram habens dimensionem atque percussionem, que in equali elevatione et depositione consistit, brevium est mensura. cf. Blachly, Mensura
4 das Aufstellen, Hinaufdrehen (eines drehbaren Stegs (Drehtangente) bei der Drehleier) the lifting by turning (of a turnable bridge (tuning-tangent) in a hurdygurdy) [opp.: depositio] Organistr. Omnes p. 207, 2: Omnes voces organistri elevatione et depositione lignorum intenduntur et remittuntur. cf. Bröcker, Drehleier 1 p. 76-79, 248; 2 imago 2 /Bd. 2, Sp. 15/
 
Artikelverweis 
elevo -avi, -atum, -are 1. (an-)heben (die Tonhöhe betreffend), (melodisch) nach oben führen, hinaufführen 2. aufsteigen (die Tonhöhe betreffend) 3. nach oben transponieren 4. (um einen Halbton) erhöhen 5. (eine gedrückte Taste oder Saite) loslassen 1. to raise (with reference to pitch), to move (the pitch) upward (melodically) 2. to ascend (with respect to pitch) 3. to transpose higher 4. to raise a note (by a semitone) 5. to release (a depressed key or string)
1 (an-)heben (die Tonhöhe betreffend), (melodisch) nach oben führen, hinaufführen to raise (with reference to pitch), to move (the pitch) upward (melodically) [syn.: acuere, intendere; opp.: deprimere, deponere, gravare, inflectere, remittere]
a allgemein general
[s.IX]
Remig. Aut. 517, 12: ‚in modulatione per arsin et thesin.‘ Hoc pertinet ad sonum, cum elevatur aut deponitur vox. al. Aurelian. 6, 4. al. Comm. br. 48: Sequitur modulatio psalmi, quae in tetrardum terminalem elevatur et descendit in tetrardum gravium. al. Notk. Balb. p. 69: A, ut altius elevetur (inde Frut. brev. 14 p. 102. Anon. Wolf p. 205. Quaest. mus. 1, 23 p. 63. Compil. Lips. p. 132).
[s.X-XI]
Ton. Lugd. 8, 18. Org. Paris. 95. Ps.-Odo dial. p. 264a. Berno prol. 2, 21. Guido reg. 94 (cf. Rusconi, Guido p. 95). al. Guido ep. p. 492, 227. al. Trad. Guid. II p. 87. al. Comm. Guid. 9 p. 117: descendere, deponi, remitti, inflecti ad inferiora, ascendere vero, elevari, intendi ad superiora (inde Anon. Lips. p. 156). al. Ton. Aug. p. 82. al Anon. Lips. p. 156. Org. Mediol. rhythm. 12. Org. Berol. 24. Ps.-Guido form. 3, 6. al. Frut. ton. p. 181: dum plus iusto vel deponitur vel elevatur, totus sequentis cantus processus mutatione sui legitimi cursus depravatur. al. Ioh. Cott. mus. 15, 4: imperiti cantores aliquando canendi taedio praegravati, quae elevanda erant, depresserunt (inde Conr. Zab. tract. BG 4. sim. Ioh. Cott. mus. 15, 11). al.
[s.XII]
Guido Aug. 137. al. Anon. Cist. I 4 p. 34: cantum illum male et inordinate compositum, qui vel ita deprimitur, quatenus, prout decet, audiri nequeat, vel ita elevatur, ut cantari non valeat. al. Anon. La Fage I 14, 3: Quando autem cantus elevatur, discantus debet deponi, et quando cantus deponitur, discantus ... debet elevari. al.
[s.XIII]
Ton. Franc. p. 117b: Modus intonandi psalmos cum puncto circumflexo et elevato. (?) Lambertus p. 259a: Diapason autem est quedam consonantia, que inter duos unisonos a qualibet littera ad consimilem elevatur et deponitur (inde Trad. Lamb. 3, 14, 1. Quat. princ. 3, 18. sim. Iac. Leod. cons. 11. Interv. Proportionum p. 21. Interv. Sunt autem p. 24. Hugo Spechtsh. comm. p. 97). al. Anon. Emmeram. 1 p. 96, 27: Plica namque nunc elevatur, nunc deprimitur (sim. Anon. Emmeram. 1 p. 96, 16). Disc. Quicumque III 16 p. 262: Si due voces vel tres sunt in eodem tono vel sono, quintans debet inspicere, si cantus immediate sequens ascendat vel descendat; nam si ascendat, quintans, si placet, ultimum de punctis unisoni in quartam vocem desuper dyatessaron facientem elevare <potest>. Trad. Garl. plan. I 87: Si aliqua linea vel chorda abrevietur in quantitate, acuitur vel elevatur eius sonus (sim. Trad. Garl. plan. II 60. Trad. Garl. plan. III 110. Trad. Garl. plan. IV 34). Walt. Odingt. 5, 1, 7.
[s.XIV]
Ioh. Mur. spec. 2, 117. Interv. Proportionum p. 20 (sim. Interv. Sunt autem p. 23). Iac. Leod. comp. 2, 5, 24. al. Iac. Leod. spec. 2, 41, 15: sicut se habet ut ad fa, sic re ad sol, si voces illae sibi dimittantur et non fiat falsa musica. Obtinet enim usus, ut ascendens de re in sol per fa cantando: re fa sol, plus elevet se fa quam debeat. Iac. Leod. spec. 6, 54, 15: Omnes autem voces in tantum similes <consonantias> sonosque similes et neumas concordes faciunt, in quantum similiter elevantur et deponuntur secundum elevationem et depositionem tonorum et semitoniorum. al. Quat. princ. 3, 12. al. Ioh. Boen ars /Bd. 2, Sp. 16/ 1, 2, 8. Ioh. Boen mus. 3, 204: ⋅a⋅re per ⋅♮⋅mi elevatum. Heinr. Eger 5 p. 58: penultimae in ascendendo ad ultimam sibi contiguam aliqualiter eleventur. ibid. al. Comm. Boeth. II p. 348, 36.
[s.XV]
Prosd. mon. 3, 3. Gob. Pers. p. 188b. al. Prosd. spec. p. 750. Anon. Claudifor. 6, 3, 3. Ugol. Urb. 1, 92, 11. al. Ps.-Guido corr. p. 51b. al. Anon. Carthus. nat. 6, 9: ⋅a⋅lamyre est affinis ad ⋅D⋅solre, nam ambo gradus tono deprimuntur et tono cum semitonio elevantur. al. Trad. Holl. I p. 162. al. Trad. Holl. II 11 p. 18 (p. 423a): Et iste modus (sc. unisonus) improprie dicitur modus eo, quod nec intenditur neque remittitur, id est nec elevatur neque deprimitur (sim. Lad. Zalk. A 57). Trad. Holl. III pr. p. 15. Trad. Holl. III 5 p. 39 descr. Ioh. Legr. rit. 1, 1, 5, 7 (inde Nicol. Burt. 1, 8, 56). Ioh. Legr. rit. 1, 1, 6, 9: Corda octava, mese, quae dicitur media, iure duplici tale nomen habere debet, a subdicta namque sibi vicina (sc. lichanos meson) tono se tantum elevans primum finit diapason a principali proslambanomenos vocula. al. Trad. Holl. VI 24, 9 (cf. Ioh. Cott. mus. 14, 7). al. Conr. Zab. tract. BF 7 (cf. Ioh. Cott. mus. 14, 7). al. Ioh. Legr. tac. p. 416a. al. Ioh. Tinct. exp. 8, 4. al. Fr. Gafur. op. 5, 7. al. Bart. Ram. 1, 1, 1 p. 3: Naturale instrumentum vox hominis est, quod naturaliter vocem elevare deprimereque possumus. al. Nicol. Burt. 1, 13, 79. Guill. Pod. ench. 26 p. 388. Guill. Pod. 6, 8: cantus planus per tonum aut semitonium seu alio modo elevabitur vel deponetur. al. Compend. mus. 89-90. Reg. comp. p. 194. Szydlov. 8 p. 38. al. Mon. In mon. mensura p. 134, 16. (?)
b im Hinblick auf den Ambitus der Kirchentonarten with respect to the ambitus of the church modes
[s.IX]
Mus. ench. 5, 3.
[s.X]
Cant. Quid est cant. c. 484: unus (sc. tonus) minus elevetur et alter minus deponatur. Ps.-Odo dial. p. 257b: Tonus vel modus est regula, quae de omni cantu in fine diiudicat. Nam nisi scieris finem, non poteris cognoscere, ubi incipi vel quantum elevari vel deponi debeat cantus (sim. Trad. Holl. III 6 p. 45). Ps.-Odo dial. p. 260a (inde Trad. Garl. plan. V 229. Iac. Leod. comp. 2, 8, 9. Iac. Leod. spec. 6, 44, 8. Hugo Spechtsh. comm. p. 133).
[s.XI]
Hermann. mus. p. 46 (p. 139b). al. Comm. Guid. 67 p. 145: qua discretione sit elevandus authentus et deponendus plagalis. al. Lib. spec. 39 p. 51. Ton. Aug. p. 84. al. Ps.-Guido form. ton. 2, 28. al. Frut. brev. 10 p. 72. Frut. ton. p. 181. Ps.-Osbern. 25. al. Quaest. mus. 1, 18 p. 39. Ioh. Cott. mus. 19, 12.
[s.XII]
Guido Aug. 165. al. Ton. Gratianop. p. 23. Ton. Cist. 89: Quilibet cantus regularis autentice elevatus vel compositus, terminatus in ⋅D⋅ vel in ⋅a⋅, autentus est primae maneriae (sim. Ioh. Aegid. 15, 2). eqs. al. Anon. Cist. I 13 p. 23: cantum prout libet, non prout licet, incipiunt et terminant, deponunt et elevant, componunt et ordinant. al. Anon. La Fage I 8, 8. al. Ton. Vatic. 12, 5 p. 202.
[s.XIII]
Anon. Lovan. p. 493b. Mus. man. 51, 33: Plagalis autem elevari debet usque ad quartam vel ad minus usque ad litteram tertiam. al. Ton. Franc. p. 142a: Primus tonus sic flectitur et sic elevatur et sic finitur (cum melodia) (sim. Ton. Franc. p. 142b-145a). Ioh. Aegid. 15, 8. al. Amerus 11, 33: in omnibus fere cantilenis organicis tonos invenio mixtos, in quibusdam locis plus debito elevantur, in quibusdam vero plus deprimuntur. al. Engelb. Adm. 4, 17, 4: Proprietas deuteri est elevari per integram dyatesseron et deponi dytono. eqs. al.
[s.XIV]
Guido Dion. 2, pr. 219: primus tonus et sextus in mediatione sua computando a suo discursu communi minus elevantur quam ceteri toni. al. Iac. Leod. comp. 2, 8, 9. Iac. Leod. spec. 6, 40, 19: illi voci principaliter modus vel cantus subiectus esse debet, a qua suam sumitur regulam, quantum scilicet debeat vel possit elevari et quantum possit deponi. al. Hugo Spechtsh. /Bd. 2, Sp. 17/ comm. p. 109. al. Quat. princ. 3, 26: aliter et aliter elevatur et deponitur auctentus et plagalis. Quat. princ. 3, 30 (inde Trad. Holl. VI 26, 8-9). Summ. Guid. comm. 4, 14.
[s.XV]
Ioh. Cicon. mus. 2, 43 p. 316, 2-3. Ugol. Urb. 1, 54, 6. al. Anon. Philad. 86: Prima species dicitur cantus autentus, quae fit, quando cantus qualiscumque super suam notam finalem plus elevatur diapente cum semitonio ... Tertia species dicitur cantus mixtus et est, quando cantus super suam notam finalem plus diapente cum semitonio elevatur et cum hoc etiam plus tono deprimitur (sim. Anon. Tegerns. III p. 99). al. Anon. Carthus. inton. 57 eqs. Trad. Holl. I p. 166. al. Trad. Holl. III 7 p. 47: cursus tonorum est certa lex ascendendi (glo.: sursum elevandi) et descendendi (glo.: infra deprimendi) cuiuslibet cantus regularis. al. Ioh. Legr. rit. 2, 2, 1, 22. Trad. Holl. VI 26, 1. al. Lad. Zalk. B 11: aliquis autenticus in statu suo est elevatus super alios. Anon. Tegerns. III p. 100. Guill. Pod. 4, 16. al.
2 aufsteigen (die Tonhöhe betreffend) to ascend (with respect to pitch) [opp.: deprimere, deponere, remittere]
[s.XI]
Aribo 50 p. 16. Comm. Guid. 38 p. 119: non debent ⋅b⋅⋅ iungi, non tamen quin, si elevetur ab ⋅a⋅ in ⋅c⋅ per ⋅b⋅ molle, possit cantus remitti per ⋅⋅ quadratum. Anon. Prag. 11: per arsim elevando, per thessim deponendo.
[s.XIII]
Trad. Garl. plan. I 210 (sim. Trad. Garl. plan. II 140) eqs. Trad. Franc. I p. 34: Incipiens autem in diapente supra vel in diapason infra, fac diatessaron elevando (sim. Disc. Sciendum 54).
[s.XIV]
Guido Dion. 2, pr. 234. Quat. princ. 4, 2, 18: Perfecte autem concordancie sunt, que tam in elevando quam in deponendo constanter suas retinent proporciones. al. Paul. Flor. 36: si tenor elevat unam, biscantus debet deprimere unam. al.
[s.XV]
Trad. Holl. III 9 p. 71. Ioh. Legr. rit. 2, 1, 6, 32 (sim. Ioh. Legr. rit. 2, 1, 10, 14). Guill. Pod. 4, 21. al. Mon. Medietas p. 143, 23.
3 nach oben transponieren to transpose higher
[s.XIV]
Ps.-Phil. lib. mus. p. 38a: Et iste cantus potest elevari per octavam et cantare (?) istas notas praedictas equaliter (sequitur exemplum) (sim. Contr. Prima regula 58). al. Heinr. Eger 5 p. 51: Quando etiam cantus elevatur extra locum proprium ad quintam vel quartam, ... cum finali tunc nimirum proportionaliter elevatur et eius principium.
[s.XV]
Fr. Gafur. op. 5, 8: si in hypolidio voces omnes tono fuerint elevate, dorium fatient ... lidii voces, si tono fuerint elevate, mixolidium producent. Contr. Prima regula 61. al.
4 (um einen Halbton) erhöhen to raise a note (by a semitone) [opp.: deprimere]
[s.XIV]
Iac. Leod. comp. 2, 4, 9. Hugo Spechtsh. comm. p. 44: Fa enim parum elevabitur et mi parum deprimitur. Petr. Palm. p. 514: fiat ♯ falsae musicae ante notam taliter elevatam, ut hic (sequitur exemplum). ibid. al. Goscalc. 1, 3 p. 52, 9: Et ubi signum ♯ ponitur, sonus illius articuli debet per maius semitonum elevari et dici ibidem mi (sim. Anon. Carthus. pract. 16, 9).
[s.XV]
Petr. Talh. p. 10. Bart. Ram. 1, 2, 5 p. 39: si in ⋅f⋅ ponatur ♮ vel , elevatur. Bart. Ram. 2, 1, 2 p. 72: quando species aliqua bonam consonantiam non fecerit, elevetur per signum aut deprimatur. al. v. LmL decima elevata - decima depressa; sexta elevata - sexta depressa; tertia elevata - tertia depressa; tredecima elevata - tredecima depressa
5 (eine gedrückte Taste oder Saite) loslassen to release (a depressed key or string) [opp.: deprimere]
[s.XV]
Arn. Zwoll. p. 9: claves deprimendo et elevando. Ioh. Tinct. inv. p. 40: Lyra est instrumentum ..., super quod chorde ab infima parte eius iuxta orificium emergentes usque ad summam equaliter tenduntur. Et hanc sonitor manu sinistra non modo sustinet, verum etiam digitorum ipsius attactu chordas deprimit ac elevat /Bd. 2, Sp. 18/ .
part. pro adi. elevatus -a, -um hoch (die Tonlage betreffend) high (with reference to pitch)
[s.X-XI]
Ps.-Odo dial. p. 258a: In acutis vel elevatis cantibus, ut in primo, tertio, quinto et septimo tono, nullus cantus plus a suo fine quam ad octavam vocem debet ascendere (inde Ton. Gratianop. p. 12). Ps.-Odo dial. p. 258b: Propter elevatos et humiles cantus. al.
[s.XIII-XIV]
Engelb. Adm. 4, 28, 11: propter cantus elevatos et altos. Engelb. Adm. 4, 29, 2: differunt autenti a plagalibus ita, quod illorum cantus sunt elevaciores, istorum demissiores. Engelb. Adm. 4, 29, 9: quintus (sc. tonus) est acucior et elevacior tercio tono, qui est gravior et depressior, sicut patet ex dyapason elevacioribus et depressioribus, in quibus autenti singuli decantantur. al.
[s.XV]
Anon. Carthus. pract. 7, 22: ⋅b⋅ molle ... vocem mollem et magis depressam representat. Sed ⋅♯⋅ durum vocem elevatiorem et durius proferibilem representat. Trad. Holl. III 4 p. 28. Ioh. Legr. rit. 2, 1, 5, 3.
adv.

 

E
 I Markierungspunkt in Mensuren letter that designates a specific point in measurements
 1 im System A - LL in the system A - LL
 a E für die lichanos hypaton diatonos und EE für die trite hyperboleon enarmonios E for the lichanos hypaton diatonos and EE for the trite hyperboleon enarmonios
 b E für die lichanos hypaton diatonos und EE für die trite hyperboleon diatonos und trite hyperboleon chromaticos E for the lichanos hypaton diatonos and EE for the trite hyperboleon diatonos and trite hyperboleon chromaticos
 2 im System: AˢB C DˢE F G HˢI K LˢM N O (für die parhypate meson) in the system: AˢB C DˢE F G HˢI K LˢM N O (for the parhypate meson)
 3 im System: A B CˢD E F GˢH I KˢL M N OˢP (Z) in the system: A B CˢD E F GˢH I KˢL M N OˢP (Z)
 4 im System: A BˢC D E FˢG H I KˢL M N OˢP Q R S in the system: A BˢC D E FˢG H I KˢL M N OˢP Q R S
 5 im System: A BˢC D EˢF G/(Z,SM)ˢIˢK L MˢN O P (für die hypate meson) in the system: A BˢC D EˢF G/(Z,SM)ˢIˢK L MˢN O P (for the hypate meson)
 6 im System: AˢB C DˢE F Gˢh (= trite synemmenon) ˢH (= paramese) ˢK L MˢN X O (für die parhypate meson) in the system: AˢB C DˢE F Gˢh (= trite synemmenon) ˢH (= paramese) ˢK L MˢN X O (for the
 7 im System: A B CˢD E FˢSˢG (A H) in the system: A B CˢD E FˢSˢG (A H)
 8 im System: A ˢC D EˢF G (primi - sexti ordinis) (für ein in Mikrointervallen versetztes Tonsystem) in the system: A ˢC D EˢF G (primi - sexti ordinis) (for a tonal system transposed according to microtones)
 II Tonbuchstabe letter that designates a note
 1 im System: AˢG F E DˢC B A GˢF E D CˢB A (aufsteigend) in the system: AˢG F E DˢC B A GˢF E D CˢB A (ascending)
 2 im System: A BˢC D EˢF G H (ˢQ = trite synemmenon) I (= paramese) ˢK L MˢN O P (für die hypate meson) in the system: A BˢC D EˢF G H (ˢQ = trite synemmenon) I (= paramese) ˢK L MˢN
 3 im System: a bˢc e hˢi m o xˢy cc ddˢff nn ii (für die lichanos hypaton) in the system: a bˢc e hˢi m o xˢy cc ddˢff nn ii (for the lichanos hypaton)(cf.
 4 im System: F (g) (= B rotundum)ˢGˢA B CˢD E FˢG (H) (= trite synemmenon)ˢG (= paramese)ˢA B CˢD E F (für lichanos meson und paranete hyperboleon) in the system: F (g) (= B rotundum)ˢGˢA B CˢD E FˢG (H) (= trite synemmenon)ˢG
 5 im System: (FF) Γ A BˢC D EˢF G aˢbˢˢc d eˢf g ( ) in the system: (FF) Γ A BˢC D EˢF G aˢbˢˢc d eˢf
 a generell general
 b auf die Stellung im System bezogen with reference to the position within the system
 c auf das griechische System bezogen (für hypate meson - nete diezeugmenon - [eperipapancos, orexion]) with reference to the Greek system (for hypate meson - nete diezeugmenon - [eperipapancos, orexion])
 d auf das Oktavsystem bezogen with reference to the octave system: ⋅E⋅ gravis (-e), ⋅E⋅ primum, ⋅E⋅ inferior (-ius), ⋅E⋅ bassum - ⋅e⋅ acuta (-um), ⋅e⋅ secundum, ⋅e⋅ superior (-ius), ⋅e⋅ altum, ⋅e⋅
 e auf die Funktion im Tonartensystem bezogen with reference to function within the system of modes: ⋅E⋅ finalis, mediatrix ⋅E⋅
 f auf das Tetrachordsystem bezogen with reference to the tetrachord system: ⋅E⋅ finalis, ⋅e⋅ acuta, ⋅e⋅ superacuta (-um), excellens
 g auf das Solmisationssystem bezogen with reference to the system of solmisation: ⋅E⋅lami - ⋅e⋅lami - ⋅la
 h auf die Schreibweise bezogen with reference to the case of letters or their repetition: ⋅E⋅ magnum (maius), ⋅E⋅ grossum, ⋅E⋅ capitale - ⋅e⋅ parvum (parva, minus), ⋅e⋅ minuta (-um) - duplicata (duplex),
 i im Skalenausschnitt (H) C - (c - ) (auch chromatisch erweitert) in Mensuren (vor allem von Tasteninstrumenten und Glocken) within the segment of scale (H) C - (c - ) (sometimes
 j mit chromatischen Systemerweiterungen with additional chromatic divisions
 k mit der Merksilbe ‚tur‘ in der Reihe ‚psal-li-tur per vo-ces is-tas‘ designated with the syllable ‘tur’ in the series ‘psal-li-tur per vo-ces is-tas’
 6 im System: A BˢC D EˢF G H IˢK L M (= trite synemmenon) N (= nete synemmenon)ˢO P Q in the system: A BˢC D EˢF G H IˢK L M (= trite synemmenon) N (= nete synemmenon)ˢO P Q
 7 im System: A BˢC D EˢF G HˢI K L (H-L = tetrach. synemm.) MˢN O P (M-P = tetrach. diezeugm.)ˢQ R S (für die hypate meson) in the system: A BˢC D EˢF G HˢI K L (H
 8 im System: A B CˢD E F GˢH I KˢL M N OˢP in the system: A B CˢD E F GˢH I KˢL M N OˢP
 9 im System: Γ aˢyˢbˢc dˢsˢeˢfˢrˢg hˢiˢkˢl m nˢo p in the system: Γ aˢyˢbˢc dˢsˢeˢfˢrˢg hˢiˢkˢl m nˢo p
 10 im System: aˢbˢˢc dˢeˢEˢfˢFˢg aˢbˢˢc d eˢf g a in the system: aˢbˢˢc dˢeˢEˢfˢFˢg aˢbˢˢc d eˢf g a
 11 im System: Γ A BˢC D EˢF G H IˢK L (I-M = tetrach. synemm.) MˢN O P (M-P = tetrach. diezeugm.) QˢR S in the system: Γ A BˢC D EˢF G H IˢK L (I-M
 12 im System: a bˢc d eˢf g hˢiˢ♮ˢk l mˢn o p (q) in the system: a bˢc d eˢf g hˢiˢ♮ˢk l mˢn o p (q)
 [13 irrtümlich: in einem System Γ-G, A-G, A-D für die hypate meson und die paramese, wobei das Tetrachord der synemmenon (A-D) in die fortlaufende Reihe der Tonbuchstaben einbezogen wird erroneously: in a system Γ-
 III Ausführungshinweis (‚gleich‘, bezogen auf die Tonhöhe) (littera significativa, ‚Romanusbuchstabe‘) direction for performance (‘equally’‚ with respect to pitch) (littera significativa, ‘Romanian letter’)
 IV Intervallbuchstabe für den Einklang letter that designates the unison
 V als Teil der Vokalreihe a e i o u zur musikalischen Inventionshilfe (a = Γ, e = A, i = B, o = C, u = D, a = E usw.) as part of the series of vowels a e i o u
 VI Kennbuchstabe für eine Kirchentonart letter that identifies a mode
 1 für die zweite Kirchentonart in einer erweiterten Vokalreihe for the second mode in an extended series of vowels (a = I, e = II, i = III, o = IV, u = V, η = VI, y = VII, ω = VIII)
 2 für die fünfte Kirchentonart in der Reihe A B C D E F G H for the fifth mode in the series A B C D E F G H
 
ekmeles
 1 generell general
 2 Intervalle betreffend with respect to intervals
 
elevatio
 1 (melodischer) Anstieg (melodic) ascent [syn.: arsis, ascensio, ascensus, intensio, intentio; opp.: depositio, depressio, descensus, positio, remissio, thesis]
 a allgemein general
 b als Tonbereich oberhalb der Finalis as tonal register above the final
 2 Erhöhung (um einen Halbton) raising (by a semitone) [opp.: depressio]
 3 Aufwärtsbewegung (beim Taktschlagen) rising movement (when marking time) [opp.: depositio]
 4 das Aufstellen, Hinaufdrehen (eines drehbaren Stegs (Drehtangente) bei der Drehleier) the lifting by turning (of a turnable bridge (tuning-tangent) in a hurdygurdy) [opp.: depositio]
 
elevo
 1 (an-)heben (die Tonhöhe betreffend), (melodisch) nach oben führen, hinaufführen to raise (with reference to pitch), to move (the pitch) upward (melodically) [syn.: acuere, intendere; opp.: deprimere, deponere, gravare, inflectere, remittere]
 a allgemein general
 b im Hinblick auf den Ambitus der Kirchentonarten with respect to the ambitus of the church modes
 2 aufsteigen (die Tonhöhe betreffend) to ascend (with respect to pitch) [opp.: deprimere, deponere, remittere]
 3 nach oben transponieren to transpose higher
 4 (um einen Halbton) erhöhen to raise a note (by a semitone) [opp.: deprimere]
 5 (eine gedrückte Taste oder Saite) loslassen to release (a depressed key or string) [opp.: deprimere]