Wörterbuchnetz
Lexicon musicum Latinum medii aevi Bibliographische AngabenLogo badw
 
bis falsetum (Bd. 2, Sp. 43 bis 58)
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Artikelverweis F, f, , FF I. Markierungspunkt in Mensuren II. Tonbuchstabe III. Ausführungshinweis (littera significativa, ‚Romanusbuchstabe‘) IV. Schlüsselbuchstabe V. Kennbuchstabe für die sechste 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. clef sign V. letter that identifies the sixth mode
I Markierungspunkt in Mensuren letter that designates a specific point in measurements
1 im System A - LL in the system A - LL
a F für die lichanos hypaton chromaticos und FF für die trite hyperboleon diatonos F for the lichanos hypaton chromaticos and FF for the trite hyperboleon diatonos
[s.VI]
Boeth. mus. 4, 6 p. 320, 2: FF trite hyperboleon diatonos. Boeth. mus. 4, 11 p. 333, 8: F lichanos hypaton chromatice. Boeth. mus. 4, 11 p. 334 descr. al.
b F für die lichanos hypaton chromaticos und FF für die trite hyperboleon enarmonios F for the lichanos hypaton chromaticos and FF for the trite hyperboleon enarmonios
[s.XIV]
Iac. Leod. spec. 5, 37 descr. al. cf. LmL II, 3 col. 44, 62.
2 im System: AˢB C DˢE F G HˢI K LˢM N O (für die lichanos meson) in the system: AˢB C DˢE F G HˢI K LˢM N O (for the lichanos meson)
[s.VI]
Boeth. mus. 4, 14 p. 338, 6: F lichanos meson (cf. Iac. Leod. spec. 6, 2, 5. al.). Boeth. mus. 4, 14 p. 341, 8. al. /Bd. 2, Sp. 44/
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).
[s.IX]
Scol. ench. 3, descr. 5. al. 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. 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 12. al.
5 im System: A BˢC D EˢF G Hˢ/(Z,SM)ˢIˢK L MˢN O P (für die parhypate meson) in the system: A BˢC D EˢF G Hˢ/(Z,SM)ˢIˢK L MˢN O P (for the parhypate meson)
[s.XI]
Ps.-Berno mon. 12, 2 descr.: F parhypate meson, prope principem mediorum. al. Quaest. mus. 1, 24 p. 67. Mon. Designata p. 70, 10. al. Mon. Divide mon. p. 3, 9. Mon. Mon. compos. I p. 68, 40. al. Mon. Partire totum p. 50, 41 descr. al. Mon. Prius dividenda 15. al. Mon. Totam tabulam p. 11, 11. 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 lichanos meson) in the system: AˢB C DˢE F Gˢh (= trite synemmenon) ˢH (= paramese) ˢK L MˢN X O (for the lichanos meson)
[s.XIV]
Iac. Leod. spec. 6, 2, 5 sqq. (cf. Boeth. mus. 4, 14 p. 338, 6). 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, 4. Mon. Organalis p. 45. (cf. Fist. Quicumque cupit 6 p. 114. Cymb. Dimidium 18, 2-3. Cymb. G habeat 20. (?) Cymb. Quicumque vult 19, 3. al. Cymb. Si velis 8, 9. Cymb. Si volueris 1, 4. al. Cymb. Sonitum 2, 8.) cf. LmL II, 4 col. 45, 5.
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, 18. 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 parhypate meson) in the system: A BˢC D EˢF G H (ˢQ = trite synemmenon) I (= paramese) ˢK L MˢN O P (for the parhypate meson)
[s.IX]
Scol. ench. 2 descr. 1 app. crit.
[s.XI]
Odor. Sen. p. 152: ⋅F⋅ Parhypate meson, id est iuxta principalem mediarum. Odor. Sen. p. 213 descr. sqq.
[s.XV]
Adam Fuld. 2, 9 descr. cf. LmL I, 5 col. 44, 21. cf. Browne, System
3 im System: a bˢc e hˢi m o xˢy cc ddˢff nn ii (für die trite hyperboleon) in the system: a bˢc e hˢi m o xˢy cc ddˢff nn ii (for the trite hyperboleon)(cf. Boeth. mus. 4, 6 p. 320, 2)
[s.IX-X]
Alia mus. p. 180 descr.: ⋅FF⋅ trite hyp<erboleon>. Alia mus. 137 p. 198: /Bd. 2, Sp. 45/ sexta (sc. species diapason) ab ⋅ff⋅ in ⋅i⋅ vel ab ⋅i⋅ in ⋅ff⋅ (inde Anon. Bernh. 2, 83). Alia mus. 140 p. 200: modulationem lydii finit ⋅ff⋅. (inde Anon. Bernh. 2, 86). ibid. al.
[s.X-XI]
Anon. Bernh. 2, 86. 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 proslambanomenos, mese und nete hyperboleon) in the system: F (g) (= B rotundum)ˢGˢA B CˢD E FˢG (H) (= trite synemmenon)ˢG (= paramese)ˢA B CˢD E F (for proslambanomenos, mese and nete hyperboleon)
[s.IX-X]
Hucbald. 47 descr. (traditio posterior). Mon. A dextra parte p. 59, 3-5. Mon. Divide in p. 61, 1-2. Mon. Divide in quatuor p. 54, 2. al. Mon. In primis 3: ⋅F⋅ ... proslambanomenos .... ⋅F⋅... mese ... ⋅F⋅ nete yperboleon. al. Mon. In primo 1. al. (inde Anon. Bernh. 2, 8-21). Mon. Mon. a magada 1. al. Mon. Per tres p. 59, 2. Mon. Primum dividas p. 60, 4-5. al. Mon. Primum divide p. 24, 3. al. Mon. Si mon. I p. 27, 5. al. Mon. Si mon. Boetii p. 33, 3. al. Mon. Si regularis 2. al. Mon. Studiosis p. 23, 35: facies tonum, qui est inter ⋅C⋅ et ⋅B⋅, et eum, qui est inter ⋅F⋅ et ⋅E⋅. al. Mon. Totum mon. 1-3. Fist. Prima per 1 p. 83. al. Fist. Rogatus 20 p. 65. al. Fist. Si numeri p. 78 descr. al.
[s.XI]
Frut. brev. 4 p. 43: septem dumtaxat sunt vocum distantiae, videlicet proslambanomenos, 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.
[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. 6, 16 app. crit.: [continens inter ⋅F⋅ et ⋅f⋅ sextam diapason speciem]. 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. 10 (c. 9), 30. al. Aribo 34 p. 4. al. Comm. Guid. 18 p. 110. al. Lib. argum. 49 p. 23. al. Lib. spec. 70 p. 38. al. Org. Mediol. rhythm. 70. al. Ps.-Guido arithm. p. 56b. al. Theophil. 3, 86 p. 158-159 (sim. Frut. brev. 16 p. 107-108). Interv. Ex omni 23. 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. Quaest. mus. 1, 19 p. 45. al. Theog. Mett. 3, 7 (p. 184a). al. Ioh. Cott. mus. 9, 14 descr. al.
[s.XII]
Udalsc. 21. al. Guido Aug. 44. al. Ton. Gratianop. p. 23. al. Ton. Parkm. p. 108. Ton. Cist. 22. al. Anon. Cist. I 93 p. 33. al. Anon. La Fage I 3, 11. al. Theinr. Dov. tab. 3-2. al. Anon. Pannain /Bd. 2, Sp. 46/ p. 112. al. Ton. Baumg. 1, 6. al. Ton. Nivern. f. 142r p. 120. al. Ton. Seligenst. p. 109. al. Ton. Vatic. 12, 2 p. 191. al. Mut. Γma ut 7.
[s.XIII]
Anon. Lovan. p. 497b. 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. Metrol. 35 p. 71. Ton. Franc. p. 149b. al. Ioh. Aegid. 15, 17. al. Amerus 2, 8. al. Elias Sal. 1 p. 18a. al. Anon. Couss. VII 12, 4. al. Lambertus p. 254a. al. Trad. Lamb. 2, 3, 5: Omne ut in ⋅C⋅ cantatur per naturam ...; omne ut in ⋅F⋅ cantatur per b molle etc.; omne ut in ⋅G⋅ cantatur per  quadratum etc. (sim. Trad. Garl. plan. I 142. Trad. Garl. plan. IV 71. Bonav. Brix. 10, 4. Anon. Couss. I p. 435a). al. Hier. Mor. 14 p. 60, 9. al. Trad. Garl. plan. I 133. al. Anon. Ratisb. 2, 13. al. Petr. Cruc. 1, 16. August. min. 163. al. Anon. Couss. IV p. 71, 11. al. Vers. Postquam pro 27. al. Ps.-Mur. summa 730. al. Engelb. Adm. 1, 9, 12. al. Walt. Odingt. 5, 9, 2. al.
[s.XIV]
March. luc. 11, 4, 96. al. Iac. Leod. comp. 2, 5, 12. al. Iac. Leod. spec. 5, 16, 2-8. Iac. Leod. spec. 6, 61, 7. al. Hugo Spechtsh. 103. al. Quat. princ. 2, 4. al. Summ. Guid. 63 (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. Goscalc. 1, 1 p. 34, 2. al. Heinr. Eger 2 p. 36. al. Ioh. Vetul. 1, 22. Comm. Boeth. II p. 314, 10. al. Anon. Ellsworth 4 p. 214, 6. al. Cart. plan. 12. Anon. Seay p. 28. al. Anon. Monac. II 47. al.
[s.XV]
Ioh. Olom. 3 p. 8. al. Ioh. Cicon. mus. 1, 17 p. 78, 11. al. Iac. Twing. p. 100, 18: Primus tonus quatuor habet loca seu litteras iniciales, scilicet ⋅C⋅D⋅F⋅A⋅. al. Iac. Theat. 31: inter ⋅f⋅ et ⋅⋅ quadratam nulla consonancia esse potest. al. Gob. Pers. p. 183b. al. Anon. Claudifor. 1, 3, 3 (sim. Mut. Christo 30). al. Ugol. Urb. 1, 7, 6. 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 91. 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⋅. al. Trad. Holl. I p. 172. al. Man. Guid. p. 151 (p. 467). Mut. Christo 38. al. Ioh. Legr. rit. 1, 1, 3, 38. al. Tact. Bona 40. al. Conr. Zab. tract. K 1. al. Clavic. Ad faciendam p. 229, 12. al. Clavic. Primo p. 148, 9-10. Ioh. Tinct. diff. 120: ⋅F est clavis utriusque ⋅Ffaut (sim. Ioh. Tinct. exp. 3, 51). al. Fr. Gafur. extr. 4, 1, 4-5. 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, 29: linea, quae in ⋅f⋅ rubei coloris ... fuit. al. Anon. Couss. I p. 434 descr. al. Szydlov. 2 p. 12. al. Contr. In presenti 136. Contr. Notandum est p. 47. Contr. Quatuor sunt p. 410a. al. Mon. A gamma p. 138, 4-5. al. Mon. A primo I p. 215, 11. al. Mon. Ab F p. 182, 10. al. Mon. Ad inveniendum p. 223, 21 descr. Mon. Compendiosam p. 181, 4. Mon. Cum primum 4-5. Mon. Divide gamma p. 141, 4-5. Mon. Fac lineam p. 183, 2. al. Mon. Figure p. 174, 3. al. Mon. Gamma novem p. 109. Mon. In primis ad levam p. 172, 9. al. Mon. Mon. disparat. 1. al. Mon. Mon. regulare p. 180, 31. al. Mon. Partire gamma p. 140, 3. al. Mon. Qui desideras p. 92. Mon. Si quem p. 245, 5. Mon. Si vis facere p. 173, 10. al. Fist. Cuprum pur. 33 p. 58. /Bd. 2, Sp. 47/
b auf die Stellung im System bezogen with reference to the position within the system
[s.X-XI]
Ps.-Odo mus. p. 268a: a sexta voce ⋅F⋅ usque ad nonam ⋅⋅. al. Ps.-Odo dial. p. 261b: decima tertia ⋅f⋅. al. Guido ep. p. 482, 188. al. Frut. brev. 13 p. 97: Sexta (sc. chorda)F⋅ signatur, quae parhypate meson, id est prope principem mediarum, vocatur. al.
[s.XII]
Ton. Gratianop. p. 31: in sextam ⋅F⋅. ibid.: ad terciamdecimam ⋅f⋅. al.
[s.XIII]
Amerus 15, 2: ⋅f⋅ septima. ibid. al. Engelb. Adm. 4, 26, 14: ⋅C⋅ tercia (sc. concordat) cum ⋅F⋅ sexta.
[s.XIV]
Iac. Leod. spec. 2, 63, 8. al. Hugo Spechtsh. comm. p. 135. al. Anon. Michaelb. I p. 47: sexta ⋅F⋅, ... decima quarta ⋅f⋅.
[s.XV]
Georg. Ans. 2, 128. al. Fr. Gafur. extr. 3, 8, 2: sexta ⋅f⋅ parhypatemeson. ibid. al. Ioh. Tinct. exp. 3, 10. al. Fr. Gafur. op. 5, 6. Bonav. Brix. 15, 90. al. Fr. Gafur. theor. 5, 6. al. Guill. Pod. 2, 12. al.
c auf das griechische System bezogen (für [hyperexiapathon] - parhypate meson - trite hyperboleon - [origneboleon]) with reference to the Greek system (for [hyperexiapathon] - parhypate meson - trite hyperboleon - [origneboleon])
[s.IX-X]
Hucbald. 40: ⋅F⋅ trite yperboleon (additio posterior). Hucbald. 41: ⋅f⋅ lichanos meson (additio posterior ex errore).
[s.XI]
Berno prol. 6, 16 app. crit.: [⋅f⋅, quae est trite yperboleon]. ibid.: [ad ⋅F⋅, idest ad parypate meson]. al. Aribo 3-6 p. 11 (inde Quaest. mus. 1, 6 p. 16). Ton. Aug. p. 84. al. Frut. brev. 5 p. 46: ab ⋅F⋅ ad ⋅f⋅, hoc est a parhypate meson ad triten hyperbolaeon. al. Anon. Wolf p. 197. al. Ioh. Cott. mus. 13, 20. al.
[s.XII]
Ton. Seligenst. p. 110.
[s.XIV]
March. luc. 15, 1, 7. al. Iac. Leod. spec. 6, 22, 10. al. Heinr. Eger 2 p. 38. Anon. Ellsworth 3 p. 198 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, ... paripate meson, idest ⋅f⋅faut. Anon. Carthus. theor. 14, 87. al. Ioh. Legr. rit. 1, 3, 3, 8-10. Fr. Gafur. extr. 3, 8, 2. al. Fr. Gafur. op. 5, 8. Adam Fuld. 2, 9 descr.: ⋅F⋅ hyperexiapathon ... ⋅F⋅ parhypate meson ... ⋅f⋅ trite hyperboleon ... ⋅ff⋅ origneboleon. Fr. Gafur. theor. 5, 8. Guill. Pod. 2, 12. al.
d auf das Oktavsystem bezogen with reference to the octave system: ⋅F⋅ gravis (-e), ⋅F⋅ primum, ⋅F⋅ inferior (-ius), ⋅F⋅ bassum ⋅F⋅ gravidum - ⋅f⋅ acuta (-um), ⋅f⋅ secundum, ⋅f⋅ superior (-ius), ⋅f⋅ altum, ⋅f⋅ media - ⋅ superacuta (-um), ⋅ tertium
[s.XI]
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. al. Comm. Guid. 93 p. 124. al. Anon. Lips. p. 157: ad ⋅f⋅ acutum. ibid. al. Frut. brev. 8 p. 61: in ⋅F⋅ vel ⋅G⋅ inferioribus ... ad ⋅f⋅ superiorem. Theog. Mett. 3, 11 (p. 184b): ad ⋅F⋅ grave. al.
[s.XII]
Trad. Guid. 1: Graves ⋅A⋅B⋅C⋅D⋅E⋅F⋅G⋅. Acutae ⋅a⋅b⋅♮⋅c⋅d⋅e⋅f⋅g⋅. al. Guido Aug. 465. al. Anon. La Fage I 1, 2-3.
[s.XIII]
Mus. man. 18, 7. al. Metrol. 34 p. 71. al. Disc. pos. vulg. p. 191, 14. al. Ton. Franc. p. 120a. al. Amerus 8, 13. al. Lambertus p. 258b (inde Compil. Ticin. A 77-82). al. Trad. Lamb. 2, 2a, 2. al. Anon. Emmeram. 4 p. 262, 28. al. Hier. Mor. 14 p. 60, 10. al. Trad. Garl. plan. I 143 descr.: superacute ... ⋅E⋅la[mi], [⋅F⋅fa]. August. min. 72. al. Ton. Sar. p. 11. al. Interv. Sit -O 2. al. Vers. Postquam pro 241. 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, 41. al. Guido Dion. 1, 3, 7. al. Iac. Leod. comp. 2, 4, 17. al. Iac. Leod. spec. 5, 18, 7. Iac. Leod. spec. 6, 24, 2: vox ..., quae ad ⋅F⋅ inferius diatessaron, ad ⋅f⋅ superius diapente resonaret. al. Hugo Spechtsh. /Bd. 2, Sp. 48/ comm. p. 73: inter ⋅F⋅ et ⋅G⋅ superacutas. al. Quat. princ. 3, 4. al. Ioh. Boen mus. 3, 200. Willelm. 2, 8. Goscalc. 1, 8 p. 92: Quartus (sc. locus mutationis) est in ⋅F⋅faut basso. ibid.: Decimus locus est in ⋅F⋅faut alto. al. Anon. La Fage II p. 424. al. Anon. Monac. II 31. al.
[s.XV]
Ioh. Olom. 5 p. 17. al. Ioh. Cicon. mus. 1, 19 p. 82, 15. al. Prosd. mon. 3, 8: primum ⋅F⋅. Prosd. mon. 6, 4: secundum ⋅F⋅. al. Prosd. spec. p. 733. al. Anon. Claudifor. 6, 4, 5. al. Ugol. Urb. 1, 12, 11. al. Georg. Ans. 3, 64. al. Anon. Philad. 9 descr. al. Thom. Bad. p. 85. al. Trad. March. 366. Petr. Talh. p. 20. Anon. Carthus. theor. 14, 12. 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. 125. al. Fr. Gafur. extr. 5, 2, 1. al. Ioh. Tinct. nat. 2, 5. al. Ioh. Tinct. contr. 1, 4, 5. al. Ioh. Tinct. exp. 3, 20 descr. al. Fr. Gafur. op. 5, 8. Bart. Ram. 1, 2, 2 p. 29. al. Nicol. Burt. 1, 16, 94: mediae ⋅a⋅b⋅c⋅d⋅e⋅f⋅g⋅. Nicol. Burt. 2, 3, 23: in superacutis ⋅f⋅g⋅. al. Guil. mon. 5 p. 30. al. Bonav. Brix. 27, 20: inter ⋅F⋅ et ⋅G⋅ superacutum. 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. 43: Tertia (sc. deductio) habet principium in ⋅F⋅ gravi, finem vero in ⋅d⋅ acuto et cantatur per ⋅B⋅ molle grave. Compend. mus. 59: ⋅F⋅ grave et primum. ibid.:f⋅ acutum et secundum. al. Szydlov. 2 p. 13. al. Clavic. B. Contr. Inprimis 5, 19. Mon. Ab F p. 182, 19. al. Mon. Divide primo p. 224, 6: ⋅f⋅ primum ... ⋅f⋅ 2um... ⋅f⋅ 3um. al. Mon. Fac lineam p. 183, 9. Mon. Figure p. 174, 3-4. Mon. Longitudinem p. 150, 19. al. Mon. Mon. tuum 3. al. Mon. Primo accipe p. 220, 3. al. Mon. Quatuor p. 146, 12. al. Mon. Qui desideras p. 92: ⋅F⋅ gravido. Mon. Si mon. II p. 27, 7. al. Organistr. A prima 6. Organistr. Volens II p. 206, 27. Fist. Ad fistulas 5 p. 132. al. Fist. Formata prima 4 p. 135. al.
e auf die Funktion im Tonartensystem bezogen with reference to function within the system of modes: ⋅F⋅ finalis, mediatrix ⋅F⋅
[s.XI]
Guido micr. 11, 25: finales voces statuerunt ⋅D⋅E⋅F⋅G⋅ (ad loc.: Comm. Guid. 81 p. 138). Guido micr. 19, 6: Ecce alia distinctio in trito ⋅F⋅. Aribo 34 p. 4 descr.: ⋅D⋅E⋅F⋅G⋅ finales communes et plagalium cingula et autentorum claves. ibid. al. Comm. Guid. 72 p. 122. Lib. spec. 32 p. 50. Ps.-Osbern. 68: Mediatrices plagalium: ⋅D⋅E⋅F⋅G⋅. al. Quaest. mus. 2, 26 p. 96 descr. al. Theog. Mett. 31, interp. 1b (p. 192b): habet cantus sui inicialem litteram ⋅F⋅. al. 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, 29. Anon. Pannain p. 110. al.
[s.XIII]
Mus. man. 41, 19 descr. Mus. man. 41, 40: quintum tonum iuxta mediatricem ⋅F⋅. 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, 20, 4. al. Walt. Odingt. 5, 8, 9 descr.
[s.XIV]
Iac. Leod. spec. 6, 41, 11: in propria finali ⋅F⋅. al. Hugo Spechtsh. comm. p. 137. al. Quat. princ. 3, 25. al.
[s.XV]
Gob. Pers. p. 195b. Anon. Claudifor. 4, 6, 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. Mut. Christo 43. Trad. Holl. VI 25, 8. al. Conr. Zab. tract. BF 9. Guil. mon. 5 p. 30. Lad. Zalk. B 60. al. Fr. Gafur. pract. 1, 7: in ⋅F⋅faut gravem finalem suam. Szydlov. 2 p. 14. al.
f auf das Tetrachordsystem bezogen with reference to the tetrachord system: ⋅F⋅ finalis, ⋅f⋅ acuta, ⋅f⋅ superacuta (-um,) ⋅f⋅ excellens /Bd. 2, Sp. 49/
[s.XI]
Hermann. mus. p. 27 (p. 129b). Hermann. mus. p. 50 (p. 141b): ⋅F⋅ tercia finalium. al. Willeh. Hirs. 10 (c. 9), 12. al. Aribo 85 p. 34: nec a finali ⋅F⋅ nec ab excellenti ⋅f⋅. al. Ton. Aug. p. 124a. Frut. brev. 7 p. 53. Ps.-Osbern. 43. al. Anon. Wolf p. 218. al. Quaest. mus. 2, 26 p. 96 descr.: a ⋅C⋅ gravi ad ⋅f⋅ excellentem. al.
[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. al. Anon. Ratisb. 8, 4, 4. al. Engelb. Adm. 4, 22, 2: dyapason est inter ⋅F⋅ terciam finalium et ⋅F⋅ terciam excellencium. al.
[s.XIV]
Iac. Leod. spec. 6, 26, 1. al. Quat. princ. 3, 23. Summ. Guid. comm. 2, 50. al.
[s.XV]
Iac. Theat. 1. Gob. Pers. p. 190a. al. Ioh. Floess 57 descr. Ioh. Floess 173: ⋅ff⋅ geminata superacuta (cf. Cahn, Floess p. 25). al. Anon. Claudifor. 1, 5, 8: quae incipitur in ⋅ff⋅ superacuto (sim. Mut. Christo 68). al. Anon. Philad. 9 descr. 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⋅. al. Trad. Holl. III 7 p. 52: excursus regularis quinti toni est ab ⋅F⋅ finali usque ad ⋅f⋅ superacutum. al. Mut. Christo 43. al. Conr. Zab. tract. p. 240-241 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. al. Mich. Keinsp. 3, 29 descr. al. Szydlov. 2 p. 14. al. Mon. A gamma p. 138, 5. al.
g auf das Solmisationssystem bezogen with reference to the system of solmisation: ⋅F⋅faut - ⋅f⋅faut - [ ⋅fa]
[s.XI-XII]
Ps.-Osbern. 53 (additio posterior?). al. Trad. Guid. 1 descr. (additio posterior?). Mut. Γma ut 7.
[s.XIII]
Org. Vatic. p. 185. Anon. Lovan. p. 493a. al. Disc. Quicumque II 1, 8. al. Metrol. 31 p. 70. al. Ioh. Aegid. 5, 2. al. Amerus 5, 27: ⋅F⋅faut habet duas notas et duas mutaciones. al. Elias Sal. 7 p. 22 descr. Lambertus p. 258a (inde Trad. Lamb. 3, 4b, 3. Compil. Ticin. A 62). Trad. Lamb. 2, 4, 11. Hier. Mor. 10 p. 47, 11. al. Trad. Garl. plan. I 143 descr.: ⋅F⋅faut ... ⋅F⋅faut ... [⋅F⋅fa]. Anon. Ratisb. 6, 8. Ton. Sar. p. 8. al. Ps.-Mur. summa 730: in radice auricularis vel minimi ... locatur ⋅F⋅faut. al. Engelb. Adm. 1, 12, 6. al.
[s.XIV]
March. luc. 8, 2, 9. Guido Dion. 1, 2, 25. al. Iac. Leod. spec. 2, 14, 27. al. Hugo Spechtsh. 35. al. Petr. Palm. p. 516. Quat. princ. 3, 9. Summ. Guid. 218. al. Ioh. Boen ars 2, 23, 15. Ioh. Boen mus. 1, 88. al. Goscalc. 1, 1 p. 34, 10. al. Heinr. Eger 2 p. 36. al. Anon. Ellsworth 3 p. 210 descr. al. Mut. Ad noticiam 225. al. Anon. Seay p. 22. al. Anon. Monac. II 3. al. Anon. Vratisl. p. 336b.
[s.XV]
Ioh. Olom. 2 p. 7: ⋅F⋅faut in radice auricularis in linea ... ⋅f⋅faut in tertia iunctura eiusdem (sc. indicis) in spatio. al. Iac. Twing. p. 96, 2. al. Gob. Pers. p. 183b. al. Anon. Claudifor. 1, 1, 5. al. Ugol. Urb. 1, 6, 7: ⋅F⋅fa. al. Tact. Octo princ. 7. al. Arn. Zwoll. p. 11. al. Thom. Bad. p. 92. Anon. Carthus. pract. 5, 13. al. Trad. Holl. I p. 165. al. Trad. Holl. II 71 p. 11 (p. 419b). al. Trad. Holl. III 1 p. 17. al. Mut. Christo 36. al. Ioh. Legr. rit. 2, 3, 5, 20: ⋅F⋅ vel fa vel ut. al. Trad. Holl. VI 33, 12. Tact. Bona 31. al. Conr. Zab. tract. PP 7. al. Clavic. Fac diclavium 14. al. Ioh. Tinct. diff. 124: ⋅F⋅faut est locus, cuius clavis est ⋅F⋅, et in quo duae voces, scilicet fa et /Bd. 2, Sp. 50/ ut, canuntur; et est duplex, scilicet grave et acutum. ibid.F⋅faut grave est linea, cuius clavis est ⋅F⋅, et in qua duae voces, scilicet fa et ut, canuntur. ibid.F⋅faut est spacium, cuius clavis est ⋅F⋅, et in quo duae voces, scilicet fa et ut, canuntur. al. Fr. Gafur. extr. 3, 8, 5. al. Ioh. Tinct. nat. 2, 5. al. Ioh. Tinct. contr. 1, 2, 37. al. Ioh. Tinct. exp. 3, 51: ⋅F⋅ est clavis utriusque ⋅F⋅faut. al. Fr. Gafur. op. 5, 6. al. Bart. Ram. 1, 1, 4 p. 12. al. Nicol. Burt. 1, 20, 100. al. Guil. mon. 9 p. 57. al. Bonav. Brix. 7, 4. al. Adam Fuld. 2, 2. al. Lad. Zalk. A 28. al. Fr. Gafur. theor. 5, 6. al. Guill. Pod. 5, 13. al. Fr. Gafur. pract. 1, 4. al. Szydlov. 2 p. 15. al. Clavic. A1-C. Mon. A primo II p. 215, 12. al. Mon. Ab F p. 182, 11. al. Mon. Dividitur p. 178, 11. al. Mon. Esto linea p. 144, 18. al. Mon. Fac lineam p. 183, 9. al. Mon. Longitudinem p. 150, 16. al. Mon. Medietas p. 143, 6. Organistr. A prima 4. al. Fist. ad secundum 6 p. 135. Fist. Incipit mensura 5 p. 136. al. Fist. Si quis 7 p. 140. al.
h auf die Schreibweise bezogen with reference to the case of letters or their repetition: ⋅F⋅ magnum (maius), ⋅F⋅ capitale - ⋅f⋅ parvum (-a, minus), ⋅f⋅ minuta (-um), ⋅f⋅ simplex - ⋅ ⋅ duplicatum (-a), ⋅ ⋅ geminatum (-a)
[s.XI-XII]
Ioh. Cott. mus. 5, 10: differt ... ⋅A⋅ capitale ab ⋅a⋅ minuto, sic ... ⋅F⋅ ab ⋅f⋅.
[s.XIII]
Trad. Garl. plan. I 109: ⋅F⋅o⋅ magnum, cuius medietas sit parvum ⋅F⋅o⋅ (pro ⋅f⋅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 2: ⋅F⋅G⋅ magna sive gravia ... ⋅f⋅g⋅ parva vel acuta. al.
[s.XIV]
Hugo Spechtsh. comm. p. 32: incipit in ⋅F⋅ capitali et finitur in ⋅D⋅ minuta. ibid.: in ⋅F⋅ minuta. al.
[s.XV]
Ioh. Floess 173: ⋅ff⋅ geminata superacuta (cf. Cahn, Floess p. 25). al. Anon. Claudifor. 1, 1, 5 descr.: Duplicatae: superacutae ⋅ee⋅lami, ⋅ff⋅faut. Anon. Claudifor. 2, 13, 6: ⋅ff⋅ geminatum. al. Thom. Bad. p. 89: ⋅ff⋅ acutum seu duplicatum. Anon. Carthus. pract. 14, 54: habet ... ⋅f⋅ parvam simplicem. al. Trad. Holl. I p. 168: ⋅f⋅ minutum acutum. al. Trad. Holl. III 9 p. 64: in ⋅F⋅ gravi capitali. al. Adam Fuld. 2, 9 descr. Lad. Zalk. A 54 descr. Erasm. Hor. p. 91a: In omni tabulatura instrumentali ponuntur litterae simplices secundum schalam solmisationis Latinorum, ut ⋅Γ⋅G⋅ vel ⋅G⋅ cum punctis ante. Dehinc ⋅A⋅ grossum vel ⋅a⋅ parvum cum puncto ante. Dehinc simplices ⋅c⋅d⋅e⋅f⋅g⋅b⋅a⋅ et dehinc ⋅c⋅ cum titello ⋅defgab⋅ (ed.: d e h g b) usque ad ⋅cc⋅. Dehinc ⋅dd⋅ et ⋅ee⋅. Erasm. Hor. p. 91b descr. (cf. Kroyer, Heritius p. 119 sq.). Szydlov. 7 p. 30. al. Mon. In mon. mensura p. 135, 39: cum minori ⋅f⋅... cum maiori ⋅F⋅. al. Mon. Si vis facere p. 173, 5.
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]
Clavic. A-D. Clavic. Primo p. 148, 8-9. Mon. A labro p. 209, 3. al. Mon. A magada p. 208, 3. al. Mon. A primo I p. 215, 11. al. Mon. Fiat corpus p. 221, 15. al. Mon. Magdarum p. 207, 5. al. Mon. Metire p. 214. Mon. Mon. tuum 3. al. Mon. Neumarum p. 219, 3. al. Mon. Primo accipe p. 220, 3. al. Mon. Quatuor p. 146, 12. al. Organistr. A C p. 205, 4. Organistr. A magada p. 209, 6. al. Organistr. A magda in p. 205, 4. al. Organistr. In primis 6. Organistr. Omnes p. 207, 7. Organistr. Organicam p. 208, 4. Organistr. Pone p. 216, 8. Organistr. Si org. p. 213, 8. al. Organistr. Volens I p. 206, 6-9. Fist. Ad fistulas 5 p. 132. al. Fist. In mensuris 1 p. 132. al. Fist. Incipit mensura 40 p. 139. Cymb. Arbitror 5, 6. Cymb. De repond. 6, 1. al. Cymb. Pone primam 10. Cymb. Si vis 7, 4. al. /Bd. 2, Sp. 51/
j mit chromatischen Systemerweiterungen with additional chromatic divisions
[s.XII]
Theinr. Dov. 3, 10b, 8: ⋅f⋅ - ⋅f♯⋅. al.
[s.XIII]
Interv. Sit -O 2: crux inter ⋅F⋅G⋅ magna vel gravia. al. Ps.-Mur. summa 1429.
[s.XIV]
Hugo Spechtsh. comm. p. 78. al. Goscalc. 1, 4 p. 58, 6: Quarta coniuncta accipitur inter ⋅F⋅ et ⋅G⋅ graves et signatur in ⋅F⋅ signo ♯, ubi dicetur mi, vel in ⋅G⋅ signo b, ubi dicetur fa. al. Cart. plan. 8. al. Anon. Seay p. 47.
[s.XV]
Ugol. Urb. mon. 9, 10. al. Tact. Octo princ. 17: ⋅f⋅faut♯. al. Tact. Opusculum 109. Thom. Bad. p. 85: fleutam, idest comma inter ⋅f⋅ grave et ⋅g⋅ grave. Ioh. Keck 3 p. 324b: inter ⋅G⋅ fictum et ⋅G⋅ usitatum gravia potes accipere fleutam, ... quae cum ⋅E⋅ gravi facit tonum, qui repraesentari potest ⋅E⋅ gravi et ⋅♮⋅ quadro in loco ipsius ⋅F⋅ gravis posito. Trad. Holl. I p. 173. Trad. Holl. II 15 p. 31 (p. 427a): Tercia coniuncta accipitur inter ⋅F⋅ et ⋅G⋅ finales ... et signatur in ⋅F⋅ gravi per ⋅b⋅ quadratum, sic quod ibi cantetur mi (sim. Trad. Holl. VI 33, 14. Lad. Zalk. A 75. Szydlov. 8 p. 36). al. Trad. Holl. VI 33, 18. Tab. Catan. p. 142. al. Fr. Gafur. extr. 9, 8, 11: ponitur ♮ quadrum in ⋅f⋅ gravi et dicitur ibi mi. al. Bart. Ram. 1, 2, 5 p. 39: si in ⋅f⋅ ponatur ♮ vel , elevatur et fit (sc. semitonium) ab ⋅f⋅ in ⋅g⋅. Lad. Zalk. A 79. Erasm. Hor. p. 91b descr. (cf. Kroyer, Heritius p. 119 sq.). Szydlov. 8 p. 38. Clavic. C. Mon. Ab F p. 182, 17: pone ... semitonium inter ⋅f⋅faut et ⋅ge⋅solreut. al. Mon. Fac lineam p. 183, 13. al. Mon. Fiat corpus p. 222, 33. Mon. Longitudinem p. 150, 29. Mon. Mon. tuum 11: habebis vocem mediam interceptam inter primum ⋅F⋅ et primum ⋅G⋅. Fist. Formata prima 8 p. 136: tertia (sc. falsa) super ⋅F⋅ grave. al. Fist. Incipit mensura 50 p. 139: falsetum ... inter ⋅F⋅faut et ⋅G⋅solreut. cf. LmL I, 8 col. 44, 43
k mit der Merksilbe ‚per‘ in der Reihe ‚psal-li-tur per vo-ces is-tas‘ designated with the syllable ‘per’ 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‘.
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.: ⋅F⋅ - corda neth - simphonia varietas triti - metrum parypate meson. al.
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 parhypate 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 parhypate meson)
[s.XI]
Ps.-Berno mon. 4, 2: ⋅F⋅ parhypate 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. 44, 1.
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: <ab ⋅e⋅ quadratam ad ⋅f⋅ rotundam semitonium, ab ⋅e⋅ quadratam> ad ⋅f⋅ vero quadratam tonus et ab ⋅f⋅ rotunda ad ⋅g⋅ tonus. 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, /Bd. 2, Sp. 52/ 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 parhypate meson und die trite diezeugmenon, 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 parhypate meson and the trite diezeugmenon, 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: ⋅F⋅ Parhypate meson subprincipalis mediarum ... ⋅A⋅ Mese media ⋅B⋅ Trite synemmenon tertia coniunctarum ⋅C⋅ Paranete synemmenon diatonos coniunctarum extenta ⋅D⋅ Nete synemmenon ultima coniunctarum ⋅E⋅ Paramese prope media ⋅F⋅ Trite diezeugmenon tertia divisarum (cf. Wien cpv 55 fol. 167v; v. Smits v. W., Musikerziehung p. 85).
[s.XV]
Tab. Catan. p. 144: ⋅F⋅faut trite <diezeugmenon> (ms.: diezuegmenon). al.
III Ausführungshinweis (für das Hervorstoßen eines Tons?) (littera significativa, ‚Romanusbuchstabe‘) direction for performance (indicating a vigorous production of tone?) (littera significativa‚ ‘Romanian letter’)
[s.IX-X]
Notk. Balb. p. 69: F, ut cum fragore seu frendore feriatur, efflagitat (inde Frut. brev. 14 p. 103. Anon. Wolf p. 205. Quaest. mus. 1, 23 p. 63. Compil. Lips. p. 132). Trad. Notk. p. 39: docet f cantando feriri. cf. Smits v. W., Muziekgeschiedenis 2 p. 129 sqq.
IV Schlüsselbuchstabe clef sign
[s.XIII]
Mus. man. 26, 9: Harum clavium tres tantum recipiendas arbitror, videlicet , c <et> g. al. Metrol. 41 p. 72: si sequatur in ipsa linea talis figura F vel talis f, tunc deinceps non erit ⋅D⋅solre linea praedicta, sed ⋅F⋅faut. Trad. Garl. plan. V 76: de principalibus signis, quae scilicet sunt duo: f grave et c acutum. al. Anon. Couss. IV p. 60, 14: Sed in principio (sc. lineae) ponunt unum signum sicut c vel f vel g et in partibus bene ponunt d. Walt. Odingt. 5, 4, 49: Et ad quinque claves sunt principales usuales, scilicet duae graves, duae acutae, una superacuta. Graves scilicet D et F, acutae c et g, superacuta .
[s.XIV]
March. luc. 14, 1, 5: per clavim in cantu ipse reseratur cantus ... et tales universaliter usitate sunt due, scilicet F grave et c acutum. Per ipsarum autem discretam repositionem per lineas potest omnis cantus, cuiuscunque sit toni, rationabiliter collocari. Distant enim ab invicem per dyapente, nam F in gravibus, c in acutis constituta sunt (inde Fr. Gafur. extr. 8, 6, 3. Bonav. Brix. 11, 9). Iac. Leod. spec. 6, 73, 29: Adhuc ... apponuntur quidam colores in tacto modo notandi per figuras, qui habentur pro litteris, ut pro C ubique, sive sit in spatio, sive in linea vel regula, color croceus; pro F, sive fuerit in regula, sive in spatio, color rubeus sive de minio vel punctus in capite lineae vel spatii. Et illae duae litterae C et F vel tacti colores ceteras litteras vel claves secundum ordinem suum dant intelligere. al. Quat. princ. 3, 12: ut una principalis monacordi litera in capite cantus prefiguretur, id est C vel F aut G. ibid. al. Compil. Ticin. B 90: Due suntque claves C et F naturales.
[s.XV]
Ioh. Olom. 5 p. 15: Gregoriani enim et qui eos secuntur in libris suis ut plurimum tres notant literis pro clavibus, scilicet F grave, ... c acutum et g acutum. Ioh. Olom. 5 p. 17: Ambrosiani vero more veterum musicorum, ubicumque in serie manuali fit formatio semitonii vocis fa, illius literam pro clave annotant, sicut C grave, F grave, ... c acutum, f acutum et, si occurreret, cc superacutum. Nicol. Cap. p. /Bd. 2, Sp. 53/ 312. Georg. Ans. 3, 17. al. Trad. Holl. I p. 169: Signatae (sc. claves) sunt, quae ad notificandum cantum in libris scribuntur, et harum quaedam (ms.; ed.: quae) communiter signantur, ut F grave et c acutum, quaedam (ms.; ed.: quae) vero, ut Γ Graecum fundamentale, rarius, et g superacutum. Quaedam vero rarissime, ut d excellens, signatur (pro signantur?) (sim. Trad. Holl. II 64 p. 10 (p. 419b). Lad. Zalk. A 53. Szydlov. 2 p. 13). Trad. Holl. II 62 p. 10 (p. 419a) (sim. Lad. Zalk. A 53). Trad. Holl. III 3 p. 25. al. Conr. Zab. tract. GG 11. al. Bart. Ram. 1, 2, 1 p. 27. Guil. mon. 5 p. 31. Adam Fuld. 2, 4 descr. Guill. Pod. 5, 30. Fr. Gafur. pract. 1, 3. Mich. Keinsp. 3, 64. al. Compend. mus. 6. al. Anon. Couss. I p. 447a: etiam potest poni clavis F faut in tertia linea, si velitis tenorem valde bassum vel gravem. Item in contratenore basso aut gravi ordinanda est clavis F faut in quarta linea aut in quinta.
V Kennbuchstabe für die sechste Kirchentonart in der Reihe A B C D E F G H letter that identifies the sixth mode in the series A B C D E F G H
[s.XIV]
Heinr. Eger 5 p. 49: F pius, invitat fletus, praedulcior omnium.
F diatonicum - F chromaticum Bezeichnung für die Tonstufe F - Bezeichnung für die Tonstufe Fis term that designates the note F - term that designates the note F-sharp
[s.XV]
Guill. Pod. ench. 35 p. 394: ut semitonium minus atque naturale ⋅e⋅f⋅ in tonum convertamus, et ⋅fdiatonicum in cromaticum traducatur. saepius
 
Artikelverweis 
fa Merksilbe aus der Reihe ut - re - mi - fa - sol - la (Solmisationssilbe) zur Bezeichnung des vierten Tons im Hexachord (mit der Intervallfolge t t s t t) mnemonic syllable in the series ut - re - mi - fa - sol - la (solmisation syllable) that designates the fourth pitch in the hexachord (with the intervallic structure t t s t t) cf. Guido ep. p. 464, 118: Utpote sit hec symphonia, qua ego docendis pueris inprimis atque etiam in ultimis utor: „Ut queant laxis / resonare fibris / mira gestorum / famuli tuorum, / solve polluti / labii reatum, / sancte Iohannes.“ Vides itaque, ut hec symphonia senis particulis suis a sex diversis incipiat vocibus? Si quis itaque uniuscuiusque particule caput ita exercitatus noverit, ut confestim quamcumque particulam voluerit, indubitanter incipiat, easdem sex voces, ubicumque viderit, secundum suas proprietates facile pronuntiare poterit.
1 allgemein general
[s.XI]
Comm. Guid. 47 p. 120: Concordias vero illas, quas diapente vel diatessaron generant, patenter notant syllabae ut, re, mi, fa, sol, la, quae in gamma sunt dispositae secundum ordinem tonorum vel semitoniorum et secundum concordiam vocum ubique, nisi quod in sola diapente ab ⋅E⋅ in ⋅⋅ non est continua vel ascensio vel descensio per syllabas. Ubi enim sunt eaedem syllabae, ibi eadem consonantia. Lib. argum. 9 p. 19: Arsis elevatio, thesis depositio. Hoc est exemplum: ⋅Γ⋅ ut - re - mi - fa - sol - la. la - sol - fa - mi - re - ut. Simili modo per totum monochordum. Ps.-Osbern. 53. al. Ioh. Cott. mus. 1, 3: Sex sunt syllabae, quas ad opus musicae assumimus, diversae quidem apud diversos. Verum Angli, Francigenae, Alemanni utuntur his: ut, re, mi, fa, sol, la. Itali autem alias habent, quas, qui nosse desiderant, stipulentur ab ipsis. Eas vero, quibus nos utimur syllabas, ex hymno illo sumptas aiunt, cuius principium est: „Ut queant laxis resonare fibris mira gestorum“ ... Per has itaque syllabas is, qui de musica scire affectat, cantiones aliquot cantare discat, quousque ascensiones et descensiones multimodasque earum varietates /Bd. 2, Sp. 54/ plene ac lucide pernoscat (inde Conr. Zab. tract. L 3). Ioh. Cott. mus. 8, 13: Est autem diatessaron trimodum, verbi gratia ut fa, re sol, mi la. Ioh. Cott. mus. 8, 18 descr.
[s.XII]
Trad. Guid. 1 descr. Ton. Parkm. p. 107: Alfabetum, quod ibi per articulorum iuncturas ponitur praeposito ⋅Γ⋅, id est g Greco, cum sillabis, quae ad dimensionem cantus adiunguntur ipsis litteris, id est ut, re mi, fa, sol, la, a prima usque ad ultimam percurrere cordetenus sciant. Ton. Parkm. p. 108: Fit autem tonus, cum dicitur ut re, re mi, fa sol, sol la. al. Mut. Γma ut 4: ⋅C⋅faut: ⋅C⋅ clavis est, fa ut due dictiones, fa ascendendo et descendendo, ut per descensum invenitur. al.
[s.XIII]
Anon. Lovan. p. 494b: Si cantus ascendat duas voces, et organum incipiat in dyapason, organum descendet tres voces et erit in dyapente super cantum, verbi gratia: ut re, fa re. al. Disc. Quicumque II 1, 18. Mus. man. 4, 15: Sex sunt nomina notarum, videlicet ut, re, mi, fa, sol, la. Tres earum sunt superiores, scilicet la sol fa, tres autem inferiores, scilicet mi re ut. Mus. man. 24, 13: Est enim ... maius semitonium inter duas notas eiusdem sedis, scilicet ⋅b⋅ acutae, quae sunt fa et mi. al. Metrol. 37 p. 71. al. Ioh. Aegid. 7, 7: ⋅C⋅faut duas habet voces, fa videlicet <et> ut. Sed fa cantatur per B quadratum, per ut videlicet de ⋅Γ⋅ut. al. Amerus 2, 16. al. Elias Sal. 4 p. 19b: Puncti sunt sex: ut, re, mi, fa, sol, la; nec intelligas, quod ut, re, mi, fa, sol, la sint puncti, sed denominationes punctorum. al. Lambertus p. 254b. al. Trad. Lamb. 2, 4, 5. al. Hier. Mor. 12 p. 50, 23: Dicunt enim, quod inter VI voces, ex quibus scilicet constat quilibet cantus, duae in sono sunt signanter sibi oppositae, una videlicet, quae dura et aspera in sui pronuntiatione est, scilicet mi, alia vero, quae molliter pronuntiatur, scilicet fa. al. Trad. Garl. plan. I 134. al. August. min. BV 80: Species autem sive voces sunt VI, quarum prima est ut, secunda re, tercia mi, quarta fa, Va sol, VIa la. August. min. 117: Est ergo semitonium ascendens mi fa, descendens fa mi. Trad. Franc. I p. 32: Sunt enim duo signa falsae musicae, scilicet b molle et ♮ quadratum. Ubi ponitur b rotundum, dicitur fa; ubi vero ♮ quadrum, dicetur mi. al. Ioh. Groch. 87. al. Ps.-Mur. summa 574. al. Engelb. Adm. 1, 9, 10. al. Walt. Odingt. 5, 4, 45 descr. al.
[s.XIV]
March. luc. 11, 4, 70: Incipere autem ipsum (sc. „Salvum fac“. „Auribus per-“) in ⋅F⋅ gravi surgit inconveniens unum, quod in pluribus locis cadit, nam necessario in ⋅f⋅ acuto fit mi et in ⋅g⋅ acuto per consequens fa pluribus et diversis vicibus, ubi etiam naturaliter non existunt. al. Guido Dion. 1, 1, 176. al. Iac. Leod. cons. 46: Fit autem tam semitonium minus quam maius inter mi et fa tantummodo ascendendo et descendendo. al. Iac. Leod. inton. 1, 11: quattuor sunt voces, quae fines cantuum regularium tonorum proprietates servantium obtinent, scilicet re, mi, fa, sol. al. Iac. Leod. spec. 2, 35, 8: Habet autem quilibet dictorum cantuum VI voces, quas sic vocamus: ut, re, mi, fa, sol, la, modo omne ut, quod incipit in ⋅G⋅, per ♮ quadratum vel durum decantatur cum vocibus annexis sibi, et quod incipit in ⋅C⋅, per naturam; quod vero incipit in ⋅F⋅, per b molle. Iac. Leod. spec. 2, 69, 13: maius tamen semitonium, ut per se sumitur, nunquam fit nisi de fa in mi ascendendo vel de mi in fa descendendo et solum inter voces ipsius ⋅b⋅fa ⋅♮⋅mi exclusa semper falsa musica. Iac. Leod. spec. 5, 16, 14: Quae enim tunc ⋅C⋅D⋅E⋅F⋅G⋅a⋅, quantum ad Latinos vocabantur, nunc vocantur ut, re, mi, fa, sol, la. Iac. Leod. spec. 6, 62, 3: ego puto me Parisius a quodam audivisse sex vocum haec nomina: pro, to, do, no, ni, a. Sed Gallici, Angli, Alamanni has sic vocant: ut, re, mi, fa, sol, la. Iac. Leod. spec. 6, 75, 8: Cantus finientes in fa quinti toni sunt vel sexti. al. Hugo Spechtsh. comm. p. 32: Eaedem autem voces sive signa vocum septies replicantur in manu et ex hoc septem usurpant sibi dispositiones, quarum prima incipit in ⋅Γ⋅ut et finit in ⋅E⋅ capitali et habet suum fa in ⋅C⋅ capitali. /Bd. 2, Sp. 55/ eqs. al. Quat. princ. 3, 10: Nam dicunt (sc. quidam) ut et fa esse graves eo, quod habent ascendere per tonum et descendere per semitonium. Re et sol dicunt esse circumflexas eo, quod habent ascendere et descendere per plenos tonos. Mi et la dicunt esse acutas eo, quod habent descendere per tonum et ascendere per semitonium. al. Ioh. Boen ars 2, 20, 8. al. Goscalc. 1, 1 p. 44, 11: in cantu inveniuntur duo signa, scilicet signum B mollis et signum B quadrati, demonstrancia, ubi fa et mi debeant cantari, et possunt poni in diversis locis manus. Goscalc. 1, 4 p. 52, 19: Ego tamen dico, quod 10 possunt esse coniuncte, quarum prima potest accipi inter ⋅Γ⋅ et ⋅A⋅ graves et signari signo b in ⋅A⋅ gravi, ubi dicetur fa, et incipit eius deduccio inferius sub littera ⋅F⋅ et finit in ⋅C⋅ gravi. Goscalc. 1, 8 p. 84, 17: Item omnis cantus huiusmodi finiens in fa naturale aut finiens in fa vel in ut B mollis est quinti vel sexti toni. al. Heinr. Eger 2 p. 37. al. Interv. Tonus div. p. 244, 2. al. Ars org. p. 101: si vis, quod ⋅b⋅ quadratum sit fa, debes tangere ⋅b⋅ molle et semitonum, qui est iusta (?) inter ⋅A⋅ et ⋅G⋅ et illum semitonum, qui est inter ⋅G⋅ et ⋅F⋅, et sic habebis fa mi re ut. al. Anon. Seay p. 22. al. Compil. Lond. p. 78: Falsa musica est, quando id in clavi recipitur, quod non est, quia aliquando propter concordantias vocum necesse est recipere id in clavi, quod non est, sicut in ⋅ge⋅solreut fa, ubi non est nisi sol, re et ut. al.
[s.XV]
Prosd. contr. I 5, 1: ficta musica est vocum fictio sive vocum positio in loco, ubi esse non videntur, sicut ponere mi, ubi non est mi, et fa, ubi non est fa. al. Gob. Pers. p. 181a. al. Prosd. spec. p. 750. al. Ugol. Urb. 1, 11, 4: litterae sunt octo, scilicet ⋅Γ⋅A⋅⋅C⋅D⋅E⋅F⋅G⋅. Voces autem XIIII sunt, scilicet ut, re, mi, faut, solre, lami, faut, solreut (inde Fr. Gafur. extr. 4, 7, 4). Ugol. Urb. 2, 7, 7: Fa duas habet dissonantias et consonantiam unam, scilicet re tertiam inferius, fa unisonum et la tertiam superius. Ugol. Urb. 2, 34, 30: Sunt ergo signa fictae musicae B et , notae vero fa et mi. al. Georg. Ans. 3, 8. al. Thom. Bad. p. 80. al. Petr. Talh. p. 7 descr. al. Anon. Carthus. pract. 4, 7: semitonium maius nusquam cadit, nisi ubi mi et fa inveniuntur in uno et eodem gradu musicali et in eadem linea sive in eodem spatio. Anon. Carthus. pract. 4, 9: semitonium minus cadit, ubi my et fa inveniuntur in diversis gradibus musicalibus ita, quod, quando my cadit in linea, fa cadit in spacio et econtra. Anon. Carthus. pract. 7, 12: sonus fa tendens ad descensum molliter, id est depresse sonari debet et cantari. Anon. Carthus. pract. 16, 8: ubicunque ponitur b molle extra ⋅b⋅fa⋅♯⋅my, ibi debet verus sonus illius gradus deprimi per unum semitonium maius, et debet ibi dici fa. al. Trad. Holl. I p. 172: Est autem coniuncta secundum vocem hominis de tono in semitonium sive de fa in mi, quod idem est, vel e converso transmutatio. al. Trad. Holl. II 3 p. 28 (p. 426b). al. Ioh. Legr. rit. 2, 2, 1, 1: Incipit liber secundus de sex, ut, re, mi, fa, sol, la, syllabis. al. Ioh. Tinct. diff. 121: Fa est quarta vox distans a tertia semitonio et a quinta tono (sim. Ioh. Tinct. exp. 4, 7). al. Fr. Gafur. extr. 9, 8, 1: si velimus cantare per fictam musicam, oportet, quod canendo seu discantando accipiamus istas voces, videlicet ut in ⋅d⋅solre, re in ⋅e⋅lami, mi in ⋅f⋅faut, fa in ⋅g⋅solreut, sol in ⋅a⋅lamire, la in ⋅b⋅fa⋅♮⋅mi. Fr. Gafur. extr. 9, 8, 18: Qualiter enim per comunicam (fortasse ex errore ms. pro coniunctam) fiat de tono semitonium, sciendum est, quod, ubi solebant dici hec voces, scilicet re, mi, fa, sol, dicitur nunc sic: mi, fa, sol, la, et hoc est de tono semitonium facere. Ioh. Tinct. exp. 4, 3. al. Fr. Gafur. op. 5, 6 descr. al. Bart. Ram. 1, 2, 2 p. 29: Quando igitur ex mi fa est faciendum, tali signo perscribunt, scilicet b rotundo; sed quando ex fa mi, hoc signo notant, scilicet ♮ quadro vel hoc . al. Bonav. Brix. 10, 7: Nos diximus, quod sex sunt voces in cantu; hoc est bene verum, sed quatuor sunt principales in cantu (ms.; ed.: cantus) /Bd. 2, Sp. 56/ : re, mi, fa, sol; et non sunt plures neque pauciores, quia quatuor sunt elementa, de quibus factus est mundus. ... De tertio statu est fa ad differentiam ignis, quia sicut ignis est fortis et potens, ita fa in ascensu et in descensu fortiter debet formari. al. Lad. Zalk. A 23. al. Fr. Gafur. theor. 5, 6. al. Guill. Pod. ench. 25 p. 385. al. Guill. Pod. 2, 13 descr. al. Fr. Gafur. pract. 1, 2: Sunt enim ut re graves, dum Graecis assentior, sol la acutae et mi fa mediae. Ecclesiasticorum vero mos est, ut re graves vocare, mi fa acutas et sol la superacutas. al. Szydlov. 3 p. 17. al. Contr. Species plani 49.
2 im Hinblick auf den Tritonus fa - mi bzw. die verminderte Quinte mi - fa with reference to the tritone fa - mi or the diminished fifth mi - fa
[s.XII]
Ton. Vatic. 12, 1 p. 190: bona est dissonancia, cum quilibet modus ab altero naturali diversitate dissonat, mala, ut siquis extollat mi super fa.
[s.XIII]
Org. Vatic. p. 185. Trad. Garl. plan. I 182: Tritonus est spacium inter duos unisonos continens in se tres tonos. ... Sed mi fa, fa mi <per disiunctionem vocum> sunt <inter> huius signa; ergo faciunt tritonum (sim. Trad. Garl. plan. II 108). August. min. BV 132: Tritonus est consonancia constans ex tribus tonis continuis. ... Huius species sunt due, scilicet fa mi et mi fa. Trad. Franc. I p. 28: nam facere diapente a mi in fa, non est bona concordantia. ibid. al. Ps.-Mur. summa 1032. al.
[s.XIV]
Interv. Proportionum p. 20: Dyatessaron est quaedam consonantia ... a qualibet <voce> usque ad quartam ... nisi ubi cadit fa contra mi, ut videmus in exemplo tritoni. Fieri tunc potest ibi dyatessaron per falsam musicam (sim. Interv. Sunt autem p. 23). eqs. Iac. Leod. spec. 6, 67, 4: fit tritonus ut inter voces ⋅F⋅ gravis et mi de ⋅b⋅fa⋅♮⋅mi et inter fa de ⋅b⋅fa⋅♮⋅mi acuta et voces ⋅e⋅ acutae. Haec autem vocum coniunctio locum habere nequit in una et eadem sex vocum solfatione; unde rarissime utendum est ea, quia rudis nimis est, sive voces illae successive proferantur, sive simul, et cantantur semper per diversos modos cantandi. al. Petr. Palm. p. 514: Ubicumque igitur evenerit mi et fa dupliciter in quinque vocibus immediate ascendentibus seu descendentibus, ibi est quinta imperfecta ex semitonio. Debet enim perfici in discantu sustinendo semitonium et tunc fiat ♯ falsae musicae ante notam taliter elevatam. Anon. Seay p. 36. Anon. Monac. II 106: mi non potest poni contra fa in speciebus consonantiis (mss.).
[s.XV]
Prosd. contr. 4, 6: in combinationibus perfecte consonantibus nunquam ponere debemus mi contra fa nec e contra, quoniam statim ipsas vocum combinationes perfecte consonantes minores vel maximas constitueremus, que discordantes sunt. Ugol. Urb. 2, 8, 5. Ugol. Urb. 2, 34, 20. Anon. Carthus. pract. 15, 27. Trad. Holl. II 64 p. 24 (p. 424b). Fr. Gafur. extr. 9, 4, 6. al. Ioh. Tinct. nat. 8, 4. al. Lad. Zalk. A 62. Flor. Fax. 13 p. 85. Anon. Couss. I p. 446a-b. Contr. Consonantia 24. Contr. Est autem p. 368b. Contr. Nota quod I p. 287. Contr. Nota quod voces 8.
3 im Hinblick auf die Mutation with reference to mutation
[s.XII]
Mut. Γma ut 4: ⋅C⋅faut: ... Dic mutationes: ut mutatur in fa per descensum et dicitur utfa, fa in ut per ascensum et dicitur faut. Mut. Γma ut 10: ⋅b⋅fa⋅⋅mi due claves et due dictiones: ... mi mutatur in fa per ascensum et descensum. (?) al.
[s.XIII]
Mus. man. 4, 13: mutatio semper illic intendit, quo magis spatium habet progrediendi, verbi gratia haec mutatio fa ut maius habet spatium supra se quam infra, cum supra se possit ascendere per 5 voces, sub se vero descendere non potest. Mus. man. 18, 10: in praedictis ⋅b⋅⋅ nulla sit mutatio, quia, cum per interiectam ⋅⋅ litteram separentur hae duae notae fa et mi, non dicitur enim ⋅b⋅⋅fami, sed ⋅b⋅fa, ⋅⋅mi. al. Ioh. Aegid. 8, 1: dicimus, quod ⋅C⋅faut duas habet /Bd. 2, Sp. 57/ mutationes, videlicet fa ut, ut fa. Sed fa ut pro ascensu per naturam, ut fa vero pro descensu per B quadratum. al. Amerus 5, 1. al. Lambertus p. 256b: omnis mutatio desinens in fa, sol, la dicitur descendendo, quia plus habet descendere quam ascendere (inde Trad. Lamb. 2, 4, 10). al. Trad. Lamb. 2, 4, 7. al. Hier. Mor. 12 p. 49, 22: voces diversarum clavium non transmutantur ad invicem, ut scilicet fa, quod est in ⋅b⋅fa acuto, non potest mutari in mi, quod est in ⋅♮⋅mi acuto, nec e converso. al. Trad. Garl. plan. I 162: Nam si aliquis a fa ascenderet usque ad terciam vocem et velit sumere quartam, necesse est ei sumere fa ut, quod est mutatio de fa in ut et similiter descendendo suo modo (sim. Trad. Garl. plan. III 152. Trad. Garl. plan. IV 87). al. August. min. L 99: in ⋅C⋅ gravi fit mutatio fa in ut per propriam vocem gravium vel a propria in  quadratum sicuti ut in fa. al. Ioh. Groch. 91. al. Engelb. Adm. 2, 25, 7. al.
[s.XIV]
March. luc. 8, 2, 6. al. Iac. Leod. spec. 2, 38, 24: Oportet enim tunc aliquam ascendere de fa in mi et esset mutatio talis, qualis in ⋅b⋅fa ⋅♮⋅mi. Iac. Leod. spec. 6, 65, 6: Cum enim in ⋅C⋅faut non possit quispiam per vocem, quae est fa, ultra vocem tertiam ascendere, quae est la, ut valeat ad quartam vel quintam procedere, oportet mutare fa de dicta clavi in ut eiusdem clavis vel litterae. al. Hugo Spechtsh. 83. al. Quat. princ. 3, 9. Goscalc. 1, 1 p. 46, 12. Compil. Lond. p. 78.
[s.XV]
Ioh. Olom. 6 p. 19. al. Gob. Pers. p. 185a. al. Ugol. Urb. 2, 19, 7. al. Anon. Carthus. pract. 14, 11. al. Trad. Holl. I p. 171: Et duo semitonia minora contra genus diatonicum iuxta se fa in mi mutata chromatizarentur. al. Trad. Holl. II 87 p. 13 (p. 420b). al. Ioh. Tinct. diff. 122: Fa sol est mutatio, que fit in ⋅c⋅solfaut et in ⋅c⋅solfa ad descendendum de  duro in b molle. Fa ut est mutatio, que fit in ⋅C⋅faut et in ⋅C⋅solfaut ad ascendendum a  duro in naturam et in utroque ⋅F⋅faut ad ascendendum a natura in b molle. al. Fr. Gafur. extr. 5, 2, 2. Ioh. Tinct. exp. 7, 3: Omnes autem voces sunt mutabiles, sed aliae plus, aliae minus. Ut etenim mutatur in tres voces, scilicet in re, in fa et in sol. ... Fa in duas, scilicet in ut et in sol. al. Bonav. Brix. 13, 9. al. Lad. Zalk. A 34. al. Fr. Gafur. pract. 1, 4. Szydlov. 5 p. 21. al. saepius v. LmL B LmL vol. I col. 199, 17; C LmL vol. I, col. 274, 3; F LmL vol. II, col. 49, 33
 
Artikelverweis faburdon v. LmL faulxbourdon
 
Artikelverweis falsa -ae f. Bezeichnung für eine nicht im Guidonischen System enthaltene Halbtonstufe term that designates a half-step that does not occur within the Guidonian system
[s.XIV]
Iac. Leod. spec. 2, 80, 10: Et nonne, si duo simul cantent, unus la la la sol, alius la fa fa sol, descendens in fa facit unam falsam? Non ditono, sed potius utitur semiditono, quia voces eius magis placent auditui et faciens unam tertiam sub vel supra diapason, quae est una decima, semiditonum accipit. ... Et idem observari videtur, cum diapente tritonum includat cum minore semitonio, ut est inter voces ⋅E⋅ quintae et ⋅♮⋅ nonae secundae, quia ascendens de mi in fa de minore semitonio tonum facere videtur una falsa utens, ut, cum alio descendente in ⋅a⋅ septimae clavi, in ⋅G⋅ gravi vocibus unisonent. Heinr. Eger 5 p. 58: Ornat etiam et cantum sustentat, si notae in descendendo ultimae seu infimae aliquando decantentur semitonialiter quasi vel modicum a sibi contiguis penultimis declinando, sique penultimae in ascendendo ad ultimam sibi contiguam aliqualiter eleventur; et notas taliter vel inferius duriter tentas vel superius elevatas quidam vocant falsas vel falseta. Mon. Primo accipe p. 220, 18: De falsis inveniendis. 1o divide totam lineam a ⋅b⋅ acuta in 2 partes equales, de quibus <1a erit ⋅b⋅ superacutum et> revolve sestum retro, /Bd. 2, Sp. 58/ et erit falsa, que cadit inter ⋅d⋅ et ⋅e⋅ graves. 2o dividatur a dicta falsa in 4or partes equales, de quibus 1a est falsa, que cadit super ⋅g⋅ gravem, 2a, que cadit super ⋅d⋅ acutis (ms.), 3a, que cadit super ⋅d⋅ superacutis (ms.). Fist. Formata prima 8 p. 136: Ad inveniendum falsas dividatur totum gammaut a ⋅⋅ gravi in novem partes, quarum prima erit falsa super ⋅C⋅ gravi, secunda super ⋅D⋅ grave, tertia super ⋅F⋅ grave, quinta super ⋅c⋅ acutum, sexta super ⋅f⋅ acutum, septima super ⋅c⋅ superacutum. Accipe illam mensuram, quae est ab ⋅E⋅ gravi usque ad falsam, quae est super ⋅F⋅ grave, et <dupla> pars erit falsa, quae est super ⋅G⋅ grave. eqs.
 
Artikelverweis 
falseta -ae f. et falsetum -i n. Bezeichnung für eine nicht im Guidonischen System enthaltene Halbtonstufe term that designates a half-step that does not occur within the Guidonian system
[s.XIV]
Heinr. Eger 5 p. 58 (cf. LmL col. 57, 58).
[s.XV]
Thom. Bad. p. 82: Maius autem semitonium est illud, quo cantando exalto vocem meam supra fa ita tamen, quod maneo inter fa et sol in medio, non tamen tango sol, tunc talis falseta dicitur semitonium maius. ibid. al. Trad. Holl. II 18 p. 19 (p. 423a): Notandum, quod quidem dicunt, [quod] omnes falsetas esse in illo modo, qui dicitur semitonium; quod tamen est falsum, quia semitonium fit ex fa et mi et e converso; sed falseta non semper habet fa mi, sed eciam sol fa etc. Et ergo illi male dicunt, sed melius dicitur falseta quam falsa nota, id est non omnino perfecta. Mon. Ad inveniendum p. 223, 1: Ad inveniendum veras falsetas seu semitonia vera in monocordo mensurato mensura regulari. Fiant primo a ⋅B⋅ ad finem IX passus, et primus terminabit ⋅cis⋅, secundus vacat, tercius ⋅fis⋅, 4tus vacat, quintus ⋅ccis⋅, sextus ⋅ffis⋅, septimus ⋅cccis⋅, reliqui vacant. Fist. Incipit mensura 12 p. 137: Sequitur de falsetis. Falsetum sive semitonium, quod idem est, si habere volueris inter ⋅C⋅faut primum naturalem et ⋅D⋅solre, divides in duas partes. Fist. Incipit mensura 14-15 p. 137. Fist. Incipit mensura 23 p. 137: Sed quia falseta specialem latitudinem habent nullam, unde semper, utcumque fuerint locandae, cum inferiori et superiori latitudinem suam habebunt. ibid. al. Fist. Incipit mensura 50-51 p. 139.

 

F
 I Markierungspunkt in Mensuren letter that designates a specific point in measurements
 1 im System A - LL in the system A - LL
 a F für die lichanos hypaton chromaticos und FF für die trite hyperboleon diatonos F for the lichanos hypaton chromaticos and FF for the trite hyperboleon diatonos
 b F für die lichanos hypaton chromaticos und FF für die trite hyperboleon enarmonios F for the lichanos hypaton chromaticos and FF for the trite hyperboleon enarmonios
 2 im System: AˢB C DˢE F G HˢI K LˢM N O (für die lichanos meson) in the system: AˢB C DˢE F G HˢI K LˢM N O (for the lichanos 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 parhypate meson) in the system: A BˢC D EˢF G/(Z,SM)ˢIˢK L MˢN O P (for the parhypate meson)
 6 im System: AˢB C DˢE F Gˢh (= trite synemmenon) ˢH (= paramese) ˢK L MˢN X O (für die lichanos 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 parhypate 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 trite hyperboleon) in the system: a bˢc e hˢi m o xˢy cc ddˢff nn ii (for the trite hyperboleon)(cf.
 4 im System: F (g) (= B rotundum)ˢGˢA B CˢD E FˢG (H) (= trite synemmenon)ˢG (= paramese)ˢA B CˢD E F (für proslambanomenos, mese und nete 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 [hyperexiapathon] - parhypate meson - trite hyperboleon - [origneboleon]) with reference to the Greek system (for [hyperexiapathon] - parhypate meson - trite hyperboleon - [origneboleon])
 d auf das Oktavsystem bezogen with reference to the octave system: ⋅F⋅ gravis (-e), ⋅F⋅ primum, ⋅F⋅ inferior (-ius), ⋅F⋅ bassum ⋅F⋅ gravidum - ⋅f⋅ acuta (-um), ⋅f⋅ secundum, ⋅f⋅ superior (-ius), ⋅f⋅ altum,
 e auf die Funktion im Tonartensystem bezogen with reference to function within the system of modes: ⋅F⋅ finalis, mediatrix ⋅F⋅
 f auf das Tetrachordsystem bezogen with reference to the tetrachord system: ⋅F⋅ finalis, ⋅f⋅ acuta, ⋅f⋅ superacuta (-um,) ⋅f⋅ excellens
 g auf das Solmisationssystem bezogen with reference to the system of solmisation: ⋅F⋅faut - ⋅f⋅faut - [ ⋅fa]
 h auf die Schreibweise bezogen with reference to the case of letters or their repetition: ⋅F⋅ magnum (maius), ⋅F⋅ capitale - ⋅f⋅ parvum (-a, minus), ⋅f⋅ minuta (-um), ⋅f⋅ simplex - duplicatum
 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 ‚per‘ in der Reihe ‚psal-li-tur per vo-ces is-tas‘ designated with the syllable ‘per’ 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 parhypate 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 parhypate meson und die trite diezeugmenon, wobei das Tetrachord der synemmenon (A-D) in die fortlaufende Reihe der Tonbuchstaben einbezogen wird erroneously: in a system Γ
 III Ausführungshinweis (für das Hervorstoßen eines Tons?) (littera significativa, ‚Romanusbuchstabe‘) direction for performance (indicating a vigorous production of tone?) (littera significativa‚ ‘Romanian letter’)
 IV Schlüsselbuchstabe clef sign
 V Kennbuchstabe für die sechste Kirchentonart in der Reihe A B C D E F G H letter that identifies the sixth mode in the series A B C D E F G H
 
fa
 1 allgemein general
 2 im Hinblick auf den Tritonus fa - mi bzw. die verminderte Quinte mi - fa with reference to the tritone fa - mi or the diminished fifth mi - fa
 3 im Hinblick auf die Mutation with reference to mutation