{"id":1966,"date":"2018-08-25T02:54:03","date_gmt":"2018-08-25T00:54:03","guid":{"rendered":"https:\/\/www.musiklehre.at\/g7\/?p=1966"},"modified":"2018-08-25T08:57:49","modified_gmt":"2018-08-25T06:57:49","slug":"englisch-deutsch-a-z-musik-fachbegriffe-uebersetzt","status":"publish","type":"post","link":"https:\/\/www.musiklehre.at\/g7\/englisch-deutsch-a-z-musik-fachbegriffe-uebersetzt\/","title":{"rendered":"A - Z : Musik Fachbegriffe englisch - deutsch"},"content":{"rendered":"\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

absolute pitch<\/h4>\n<\/td>\n

absolutes Geh\u00f6r<\/span><\/td>\n<\/tr>\n
\n

accent<\/h4>\n<\/td>\n

Betonung, Betonungszeichen.
\n<\/span><\/td>\n<\/tr>\n
\n

accentuation<\/h4>\n<\/td>\n

Betonung, Betonungszeichen<\/span><\/td>\n<\/tr>\n
\n

accidental to enharmonics<\/h4>\n<\/td>\n

Vorzeichen enharmonisch \u00e4ndern (z. B. ges statt fis, wobei sich die Tonh\u00f6he nicht \u00e4ndert)<\/span><\/td>\n<\/tr>\n
\n

accidental to flats<\/h4>\n<\/td>\n

Vorzeichen zu B-Vorzeichen \u00e4ndern<\/span><\/td>\n<\/tr>\n
\n

accidental to sharps<\/h4>\n<\/td>\n

Vorzeichen zu Kreuz-Vorzeichen \u00e4ndern<\/span><\/td>\n<\/tr>\n
\n

Accidental<\/h4>\n<\/td>\n

Vorzeichen<\/span><\/td>\n<\/tr>\n
\n

accidental<\/h4>\n<\/td>\n

Vorzeichen, Versetzungszeichen<\/span><\/td>\n<\/tr>\n
\n

accompaniment<\/h4>\n<\/td>\n

Begleitung<\/span><\/td>\n<\/tr>\n
\n

Accordion<\/h4>\n<\/td>\n

Akkordeon<\/span><\/td>\n<\/tr>\n
\n

acoustic guitar<\/h4>\n<\/td>\n

Akustische Gitarre<\/span><\/td>\n<\/tr>\n
\n

acoustic<\/h4>\n<\/td>\n

akustisch<\/span><\/td>\n<\/tr>\n
\n

acoustics<\/h4>\n<\/td>\n

Akustik<\/span><\/td>\n<\/tr>\n
\n

add<\/h4>\n<\/td>\n

hinzuf\u00fcgen<\/span><\/td>\n<\/tr>\n
\n

adjust<\/h4>\n<\/td>\n

anpassen<\/span><\/td>\n<\/tr>\n
\n

advanced<\/h4>\n<\/td>\n

fortgeschrittenen, fortgeschrittener (Spieler)<\/span><\/td>\n<\/tr>\n
\n

alternate bass<\/h4>\n<\/td>\n

Wechselbass<\/span><\/td>\n<\/tr>\n
\n

Alto Clarinet<\/h4>\n<\/td>\n

Altklarinette<\/span><\/td>\n<\/tr>\n
\n

Alto Flute<\/h4>\n<\/td>\n

Altfl\u00f6te<\/span><\/td>\n<\/tr>\n
\n

Alto Saxophone<\/h4>\n<\/td>\n

Altsaxophon<\/span><\/td>\n<\/tr>\n
\n

Alto<\/h4>\n<\/td>\n

Alt<\/span><\/td>\n<\/tr>\n
\n

anticipation<\/h4>\n<\/td>\n

Vorwegnahme<\/span><\/td>\n<\/tr>\n
\n

Anvil<\/h4>\n<\/td>\n

Amboss<\/span><\/td>\n<\/tr>\n
\n

apply to…<\/h4>\n<\/td>\n

Anwenden f\u00fcr…<\/span><\/td>\n<\/tr>\n
\n

apply<\/h4>\n<\/td>\n

anpassen<\/span><\/td>\n<\/tr>\n
\n

appoggiatura<\/h4>\n<\/td>\n

Vorschlag<\/span><\/td>\n<\/tr>\n
\n

arch<\/h4>\n<\/td>\n

Bogen<\/span><\/td>\n<\/tr>\n
\n

artificial harmonics<\/h4>\n<\/td>\n

Flageolett – Ton bei Saiteninstrumenten, durch nur leichtes Aufsetzen der Finger erzeugt.<\/span><\/td>\n<\/tr>\n
\n

ascending slur<\/h4>\n<\/td>\n

Aufschlag (Bindung)<\/span><\/td>\n<\/tr>\n
\n

attack<\/h4>\n<\/td>\n

Anschlag, Ansto\u00df<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

attributes<\/h4>\n<\/td>\n

Attribute<\/span><\/td>\n<\/tr>\n
\n

audible<\/h4>\n<\/td>\n

h\u00f6rbar<\/span><\/td>\n<\/tr>\n
\n

audience<\/h4>\n<\/td>\n

Zuh\u00f6rer, Publikum<\/span><\/td>\n<\/tr>\n
\n

augmented triad<\/h4>\n<\/td>\n

\u00fcberm\u00e4\u00dfiger Dreiklang<\/span><\/td>\n<\/tr>\n
\n

augmented<\/h4>\n<\/td>\n

\u00fcberm\u00e4\u00dfig (Intervall), vergr\u00f6\u00dfert (Notenwert)<\/span><\/td>\n<\/tr>\n
\n

auto beam<\/h4>\n<\/td>\n

automatisches Verbalken der Noten<\/span><\/td>\n<\/tr>\n
\n

b<\/h4>\n<\/td>\n

englische Bezeichnung f\u00fcr den Ton h<\/span><\/td>\n<\/tr>\n
\n

back of the hand<\/h4>\n<\/td>\n

Handr\u00fccken<\/span><\/td>\n<\/tr>\n
\n

background<\/h4>\n<\/td>\n

Hintergrund<\/span><\/td>\n<\/tr>\n
\n

backslash<\/h4>\n<\/td>\n

verkehrter Schr\u00e4gstrich \\<\/span><\/td>\n<\/tr>\n
\n

bar line<\/h4>\n<\/td>\n

Taktstrich<\/span><\/td>\n<\/tr>\n
\n

bar<\/h4>\n<\/td>\n

Takt<\/span><\/td>\n<\/tr>\n
\n

Baritone Saxophone<\/h4>\n<\/td>\n

Baritonsaxophon<\/span><\/td>\n<\/tr>\n
\n

Baritone<\/h4>\n<\/td>\n

Bariton<\/span><\/td>\n<\/tr>\n
\n

barline (measure line)<\/h4>\n<\/td>\n

Taktstrich<\/span><\/td>\n<\/tr>\n
\n

barline type<\/h4>\n<\/td>\n

Taktstrich-Art<\/span><\/td>\n<\/tr>\n
\n

barr\u00e9<\/h4>\n<\/td>\n

Barr\u00e9, Quergriff<\/span><\/td>\n<\/tr>\n
\n

basic cadence<\/h4>\n<\/td>\n

Grundkadenz<\/span><\/td>\n<\/tr>\n
\n

Bass Clarinet<\/h4>\n<\/td>\n

Bassklarinette<\/span><\/td>\n<\/tr>\n
\n

Bass Flute<\/h4>\n<\/td>\n

Bassfl\u00f6te<\/span><\/td>\n<\/tr>\n
\n

Bass Saxophone<\/h4>\n<\/td>\n

Bass-Saxophon<\/span><\/td>\n<\/tr>\n
\n

bass strings<\/h4>\n<\/td>\n

Bass-Saiten<\/span><\/td>\n<\/tr>\n
\n

bass<\/h4>\n<\/td>\n

Bass<\/span><\/td>\n<\/tr>\n
\n

basso continuo<\/h4>\n<\/td>\n

Generalbass<\/span><\/td>\n<\/tr>\n
\n

Bassoon<\/h4>\n<\/td>\n

Fagott<\/span><\/td>\n<\/tr>\n
\n

beam groups<\/h4>\n<\/td>\n

Gruppe verbalken (z. B. zwei Achtelnoten mit einem Balken verbinden)<\/span><\/td>\n<\/tr>\n
\n

beam on beat<\/h4>\n<\/td>\n

„auf den Schlag“ verbalken<\/span><\/td>\n<\/tr>\n
\n

beam<\/h4>\n<\/td>\n

Balken<\/span><\/td>\n<\/tr>\n
\n

beat<\/h4>\n<\/td>\n

Schlag, Rhythmus<\/span><\/td>\n<\/tr>\n
\n

bend<\/h4>\n<\/td>\n

(Saite) ziehen<\/span><\/td>\n<\/tr>\n
\n

bottom part<\/h4>\n<\/td>\n

Unterstimme<\/span><\/td>\n<\/tr>\n
\n

bow<\/h4>\n<\/td>\n

Bogen<\/span><\/td>\n<\/tr>\n
\n

brace (curved bracket)<\/h4>\n<\/td>\n

geschwungene Klammer, welche ein oder mehrere Notenzeilen- Systeme verbindet<\/span><\/td>\n<\/tr>\n
\n

bracket (accolade)<\/h4>\n<\/td>\n

Klammer, welche ein oder mehrere Notenzeilen- Systeme verbindet<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

brass<\/h4>\n<\/td>\n

Blechbl\u00e4ser<\/span><\/td>\n<\/tr>\n
\n

break barlines<\/h4>\n<\/td>\n

unterbreche die Taktstriche<\/span><\/td>\n<\/tr>\n
\n

break<\/h4>\n<\/td>\n

Pause<\/span><\/td>\n<\/tr>\n
\n

bridge<\/h4>\n<\/td>\n

Steg<\/span><\/td>\n<\/tr>\n
\n

broken chord<\/h4>\n<\/td>\n

gebrochener Akkord<\/span><\/td>\n<\/tr>\n
\n

cancel<\/h4>\n<\/td>\n

Abbruch<\/span><\/td>\n<\/tr>\n
\n

cantible tone<\/h4>\n<\/td>\n

sanglicher Ton<\/span><\/td>\n<\/tr>\n
\n

capotasto<\/h4>\n<\/td>\n

Kapodaster<\/span><\/td>\n<\/tr>\n
\n

case<\/h4>\n<\/td>\n

Kasten<\/span><\/td>\n<\/tr>\n
\n

Castanets<\/h4>\n<\/td>\n

Kastagnetten<\/span><\/td>\n<\/tr>\n
\n

cedar<\/h4>\n<\/td>\n

Zeder<\/span><\/td>\n<\/tr>\n
\n

center<\/h4>\n<\/td>\n

zentrieren, z. B. „center staves“ = Notenzeilen zentrieren<\/span><\/td>\n<\/tr>\n
\n

change of position<\/h4>\n<\/td>\n

Lagenwechsel<\/span><\/td>\n<\/tr>\n
\n

change<\/h4>\n<\/td>\n

\u00e4ndern<\/span><\/td>\n<\/tr>\n
\n

Children’s Choir<\/h4>\n<\/td>\n

Kinderchor<\/span><\/td>\n<\/tr>\n
\n

choir<\/h4>\n<\/td>\n

Chor<\/span><\/td>\n<\/tr>\n
\n

choose<\/h4>\n<\/td>\n

w\u00e4hle (im Sinne von ausw\u00e4hlen)<\/span><\/td>\n<\/tr>\n
\n

chord chart<\/h4>\n<\/td>\n

Akkord-Diagramm<\/span><\/td>\n<\/tr>\n
\n

chord of the sixth<\/h4>\n<\/td>\n

Sextakkord<\/span><\/td>\n<\/tr>\n
\n

chord sequence<\/h4>\n<\/td>\n

Akkordfolge<\/span><\/td>\n<\/tr>\n
\n

chord symbol<\/h4>\n<\/td>\n

Akkord Symbol<\/span><\/td>\n<\/tr>\n
\n

chord<\/h4>\n<\/td>\n

Akkord<\/span><\/td>\n<\/tr>\n
\n

chordal<\/h4>\n<\/td>\n

akkordisch<\/span><\/td>\n<\/tr>\n
\n

chorus<\/h4>\n<\/td>\n

Refrain<\/span><\/td>\n<\/tr>\n
\n

circle of fifths<\/h4>\n<\/td>\n

Quintenzirkel<\/span><\/td>\n<\/tr>\n
\n

circle of fourths<\/h4>\n<\/td>\n

Quartenzirkel<\/span><\/td>\n<\/tr>\n
\n

Clarinet<\/h4>\n<\/td>\n

Klarinette<\/span><\/td>\n<\/tr>\n
\n

Claves<\/h4>\n<\/td>\n

Klangh\u00f6lzer<\/span><\/td>\n<\/tr>\n
\n

clear<\/h4>\n<\/td>\n

l\u00f6schen (s. a. delete)<\/span><\/td>\n<\/tr>\n
\n

clef<\/h4>\n<\/td>\n

Notenschl\u00fcssel<\/span><\/td>\n<\/tr>\n
\n

clefs<\/h4>\n<\/td>\n

Notenschl\u00fcssel, z. B. g-clef = Violinschl\u00fcssel<\/span><\/td>\n<\/tr>\n
\n

close to the bridge<\/h4>\n<\/td>\n

am Steg<\/span><\/td>\n<\/tr>\n
\n

close<\/h4>\n<\/td>\n

schliessen<\/span><\/td>\n<\/tr>\n
\n

coda phrases<\/h4>\n<\/td>\n

Wiederholungs-Bezeichnungen (D.C., D.S. al Fine usw.)<\/span><\/td>\n<\/tr>\n
\n

color<\/h4>\n<\/td>\n

Farbe<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

common chord<\/h4>\n<\/td>\n

Dreiklang<\/span><\/td>\n<\/tr>\n
\n

common time<\/h4>\n<\/td>\n

4\/4 Takt<\/span><\/td>\n<\/tr>\n
\n

competition<\/h4>\n<\/td>\n

Wettbewerb<\/span><\/td>\n<\/tr>\n
\n

compose<\/h4>\n<\/td>\n

komponieren<\/span><\/td>\n<\/tr>\n
\n

composer<\/h4>\n<\/td>\n

Komponist<\/span><\/td>\n<\/tr>\n
\n

concert pitch A4<\/h4>\n<\/td>\n

Kammerton a‘<\/span><\/td>\n<\/tr>\n
\n

conductor<\/h4>\n<\/td>\n

Dirigent<\/span><\/td>\n<\/tr>\n
\n

Contrabassoon<\/h4>\n<\/td>\n

Kontrafagott<\/span><\/td>\n<\/tr>\n
\n

copy<\/h4>\n<\/td>\n

kopieren<\/span><\/td>\n<\/tr>\n
\n

Cornet<\/h4>\n<\/td>\n

Kornett<\/span><\/td>\n<\/tr>\n
\n

count<\/h4>\n<\/td>\n

Schlag (im Takt)<\/span><\/td>\n<\/tr>\n
\n

counter movement<\/h4>\n<\/td>\n

Gegenbewegung, Gegenstimme<\/span><\/td>\n<\/tr>\n
\n

Cowbells<\/h4>\n<\/td>\n

Kuhglocken<\/span><\/td>\n<\/tr>\n
\n

Crash Cymbals<\/h4>\n<\/td>\n

Becken<\/span><\/td>\n<\/tr>\n
\n

crotchet<\/h4>\n<\/td>\n

Viertel<\/span><\/td>\n<\/tr>\n
\n

cue<\/h4>\n<\/td>\n

Leitton<\/span><\/td>\n<\/tr>\n
\n

current<\/h4>\n<\/td>\n

momentan, aktuell<\/span><\/td>\n<\/tr>\n
\n

cut time<\/h4>\n<\/td>\n

alla breve<\/span><\/td>\n<\/tr>\n
\n

cut<\/h4>\n<\/td>\n

ausschneiden<\/span><\/td>\n<\/tr>\n
\n

damp<\/h4>\n<\/td>\n

d\u00e4mpfen<\/span><\/td>\n<\/tr>\n
\n

deadend string<\/h4>\n<\/td>\n

abged\u00e4mpfte Saite<\/span><\/td>\n<\/tr>\n
\n

delete<\/h4>\n<\/td>\n

l\u00f6schen<\/span><\/td>\n<\/tr>\n
\n

demisemiquaver<\/h4>\n<\/td>\n

Zweiunddrei\u00dfigstel<\/span><\/td>\n<\/tr>\n
\n

descending slur<\/h4>\n<\/td>\n

Abzug (Bindung)<\/span><\/td>\n<\/tr>\n
\n

descending<\/h4>\n<\/td>\n

abw\u00e4rts (z. B.Tonleiter)<\/span><\/td>\n<\/tr>\n
\n

die out, to<\/h4>\n<\/td>\n

ausschwingen<\/span><\/td>\n<\/tr>\n
\n

diminished<\/h4>\n<\/td>\n

vermindert<\/span><\/td>\n<\/tr>\n
\n

direction<\/h4>\n<\/td>\n

Richtung, z. B. „tie direction“ – Haltebogen-Richtung – nach oben oder unten<\/span><\/td>\n<\/tr>\n
\n

dot<\/h4>\n<\/td>\n

Punkt<\/span><\/td>\n<\/tr>\n
\n

dotted note<\/h4>\n<\/td>\n

punktierte Note<\/span><\/td>\n<\/tr>\n
\n

double-dot<\/h4>\n<\/td>\n

Doppelter Punkt (bei doppelt punktierten Noten)<\/span><\/td>\n<\/tr>\n
\n

double-flat<\/h4>\n<\/td>\n

Doppel-B (Vorzeichen – accidentals)<\/span><\/td>\n<\/tr>\n
\n

double-flat<\/h4>\n<\/td>\n

Doppel-b<\/span><\/td>\n<\/tr>\n
\n

double-sharp<\/h4>\n<\/td>\n

Doppelkreuz (Vorzeichen – accidentals)<\/span><\/td>\n<\/tr>\n
\n

double-sharp<\/h4>\n<\/td>\n

Doppelkreuz<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

Double Bass<\/h4>\n<\/td>\n

Kontrabass<\/span><\/td>\n<\/tr>\n
\n

double stop<\/h4>\n<\/td>\n

Doppelgriff<\/span><\/td>\n<\/tr>\n
\n

double tonguing<\/h4>\n<\/td>\n

Doppelzunge<\/span><\/td>\n<\/tr>\n
\n

downstroke<\/h4>\n<\/td>\n

Anschlag von oben nach unten<\/span><\/td>\n<\/tr>\n
\n

draw<\/h4>\n<\/td>\n

zeichnen<\/span><\/td>\n<\/tr>\n
\n

drawing-tools<\/h4>\n<\/td>\n

Zeichnen-Werkzeuge<\/span><\/td>\n<\/tr>\n
\n

dress rehearsal<\/h4>\n<\/td>\n

Generalprobe<\/span><\/td>\n<\/tr>\n
\n

driver<\/h4>\n<\/td>\n

Treiber, MIDI-Treiber<\/span><\/td>\n<\/tr>\n
\n

Drums<\/h4>\n<\/td>\n

Schlagzeug, Drumset<\/span><\/td>\n<\/tr>\n
\n

duplet<\/h4>\n<\/td>\n

Duole<\/span><\/td>\n<\/tr>\n
\n

duration<\/h4>\n<\/td>\n

Dauer<\/span><\/td>\n<\/tr>\n
\n

each<\/h4>\n<\/td>\n

jede(r)<\/span><\/td>\n<\/tr>\n
\n

ebony<\/h4>\n<\/td>\n

Ebenholz: Sehr hartes, schwarzes Holz welches h\u00e4ufig f\u00fcr Musikinstrumente (bzw. Teile davon) verwendet wird.<\/span><\/td>\n<\/tr>\n
\n

edit<\/h4>\n<\/td>\n

bearbeiten<\/span><\/td>\n<\/tr>\n
\n

eighth note<\/h4>\n<\/td>\n

Achtelnote<\/span><\/td>\n<\/tr>\n
\n

elbow<\/h4>\n<\/td>\n

Ellenbogen<\/span><\/td>\n<\/tr>\n
\n

emphasis<\/h4>\n<\/td>\n

Betonung<\/span><\/td>\n<\/tr>\n
\n

endings<\/h4>\n<\/td>\n

Wiederholungsenden („Haus 1“, „Haus 2“, prima, seconda)<\/span><\/td>\n<\/tr>\n
\n

English Horn<\/h4>\n<\/td>\n

Englischhorn<\/span><\/td>\n<\/tr>\n
\n

eraser<\/h4>\n<\/td>\n

Radiergummi, L\u00f6schwerkzeug<\/span><\/td>\n<\/tr>\n
\n

exercise<\/h4>\n<\/td>\n

\u00dcbung, Aufgabe<\/span><\/td>\n<\/tr>\n
\n

exit<\/h4>\n<\/td>\n

beenden<\/span><\/td>\n<\/tr>\n
\n

extension<\/h4>\n<\/td>\n

Erweiterung<\/span><\/td>\n<\/tr>\n
\n

extract part<\/h4>\n<\/td>\n

Teil (Stimme) extrahieren<\/span><\/td>\n<\/tr>\n
\n

fan-bracing<\/h4>\n<\/td>\n

f\u00e4cherf\u00f6rmige Verbalkung der Decke<\/span><\/td>\n<\/tr>\n
\n

fifth<\/h4>\n<\/td>\n

Quinte<\/span><\/td>\n<\/tr>\n
\n

final rehersal<\/h4>\n<\/td>\n

Generalprobe<\/span><\/td>\n<\/tr>\n
\n

fingerboard<\/h4>\n<\/td>\n

Griffbrett<\/span><\/td>\n<\/tr>\n
\n

fingering<\/h4>\n<\/td>\n

Fingersatz<\/span><\/td>\n<\/tr>\n
\n

fingerpattern<\/h4>\n<\/td>\n

Griffschemata<\/span><\/td>\n<\/tr>\n
\n

fingerpick<\/h4>\n<\/td>\n

Plektrum f\u00fcr die Finger<\/span><\/td>\n<\/tr>\n
\n

fingertip<\/h4>\n<\/td>\n

Fingerspitze<\/span><\/td>\n<\/tr>\n
\n

first inversion<\/h4>\n<\/td>\n

erste Umkehrung<\/span><\/td>\n<\/tr>\n
\n

fit page<\/h4>\n<\/td>\n

an die Seite(ngr\u00f6\u00dfe) anpassen<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

fit to…<\/h4>\n<\/td>\n

anpassen, fit to page = an die Seite(ngr\u00f6\u00dfe) anpassen<\/span><\/td>\n<\/tr>\n
\n

fit width<\/h4>\n<\/td>\n

an die (Seiten-)Breite anpassen<\/span><\/td>\n<\/tr>\n
\n

flag<\/h4>\n<\/td>\n

F\u00e4hnchen<\/span><\/td>\n<\/tr>\n
\n

flat<\/h4>\n<\/td>\n

Erniedrigungszeichen, vermindert<\/span><\/td>\n<\/tr>\n
\n

flatpick<\/h4>\n<\/td>\n

Plektrum<\/span><\/td>\n<\/tr>\n
\n

flute<\/h4>\n<\/td>\n

Fl\u00f6te, Querfl\u00f6te<\/span><\/td>\n<\/tr>\n
\n

flutter tongue<\/h4>\n<\/td>\n

Flatterzunge: Tremoloartige Artikulation des Klanges bei Blasinstrumenten.<\/span><\/td>\n<\/tr>\n
\n

follow<\/h4>\n<\/td>\n

folgen, follow playback = der Wiedergabe folgen<\/span><\/td>\n<\/tr>\n
\n

font<\/h4>\n<\/td>\n

Zeichensatz<\/span><\/td>\n<\/tr>\n
\n

footer<\/h4>\n<\/td>\n

Fu\u00dfzeilen, Fu\u00dfnote<\/span><\/td>\n<\/tr>\n
\n

footstool<\/h4>\n<\/td>\n

Fu\u00dfhocker<\/span><\/td>\n<\/tr>\n
\n

forearm<\/h4>\n<\/td>\n

Unterarm<\/span><\/td>\n<\/tr>\n
\n

four-part harmony<\/h4>\n<\/td>\n

vierstimmiger Satz<\/span><\/td>\n<\/tr>\n
\n

four-quarter time<\/h4>\n<\/td>\n

4\/4 Takt<\/span><\/td>\n<\/tr>\n
\n

fourth<\/h4>\n<\/td>\n

Quarte<\/span><\/td>\n<\/tr>\n
\n

free stroke<\/h4>\n<\/td>\n

tirando, freier Anschlag<\/span><\/td>\n<\/tr>\n
\n

french polish<\/h4>\n<\/td>\n

Schellack Politur<\/span><\/td>\n<\/tr>\n
\n

fret<\/h4>\n<\/td>\n

Bund<\/span><\/td>\n<\/tr>\n
\n

fretboard<\/h4>\n<\/td>\n

Griffbrett<\/span><\/td>\n<\/tr>\n
\n

frets (guitar frets)<\/h4>\n<\/td>\n

Griffbilder<\/span><\/td>\n<\/tr>\n
\n

fretted<\/h4>\n<\/td>\n

mit B\u00fcnden versehen<\/span><\/td>\n<\/tr>\n
\n

from … to<\/h4>\n<\/td>\n

von … bis<\/span><\/td>\n<\/tr>\n
\n

fundamental<\/h4>\n<\/td>\n

Grundton<\/span><\/td>\n<\/tr>\n
\n

g-clef<\/h4>\n<\/td>\n

Violinschl\u00fcssel<\/span><\/td>\n<\/tr>\n
\n

gauge<\/h4>\n<\/td>\n

Durchmesser einer Saite<\/span><\/td>\n<\/tr>\n
\n

go to …<\/h4>\n<\/td>\n

gehe zu …<\/span><\/td>\n<\/tr>\n
\n

grace note<\/h4>\n<\/td>\n

Vorschlagsnote<\/span><\/td>\n<\/tr>\n
\n

Grace notes<\/h4>\n<\/td>\n

Vorschlagsnoten<\/span><\/td>\n<\/tr>\n
\n

grade<\/h4>\n<\/td>\n

Schwierigkeitsgrad<\/span><\/td>\n<\/tr>\n
\n

guess durations<\/h4>\n<\/td>\n

„Dauer raten“, d.h. ev. fehlende Pausen werden eingef\u00fcgt, bzw. zuviele Noten in einem Takt werden als Akkord zusammengef\u00fcgt<\/span><\/td>\n<\/tr>\n
\n

guitar frets<\/h4>\n<\/td>\n

Gitarren-Griffbilder<\/span><\/td>\n<\/tr>\n
\n

guitar<\/h4>\n<\/td>\n

Gitarre<\/span><\/td>\n<\/tr>\n
\n

gut string<\/h4>\n<\/td>\n

Darmsaite<\/span><\/td>\n<\/tr>\n
\n

hairpin<\/h4>\n<\/td>\n

Crescendo bzw. decrescendo Gabel (lauter bzw. leiser werden).<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

half-note<\/h4>\n<\/td>\n

halbe Note<\/span><\/td>\n<\/tr>\n
\n

half-step<\/h4>\n<\/td>\n

Halbtonschritt<\/span><\/td>\n<\/tr>\n
\n

half barr\u00e9<\/h4>\n<\/td>\n

kleiner (halber) Barregriff<\/span><\/td>\n<\/tr>\n
\n

hammering<\/h4>\n<\/td>\n

Aufschlag (Verzierungstechnik – Spieltechnik, haupts\u00e4chlich bei Zupfinstrumenten).<\/span><\/td>\n<\/tr>\n
\n

harm.<\/h4>\n<\/td>\n

Abk. f\u00fcr Flageolett<\/span><\/td>\n<\/tr>\n
\n

harmonic minor<\/h4>\n<\/td>\n

harmonisch Moll<\/span><\/td>\n<\/tr>\n
\n

harmonics<\/h4>\n<\/td>\n

Harmonische, Flageolett<\/span><\/td>\n<\/tr>\n
\n

harmony<\/h4>\n<\/td>\n

Zusammenklang, Einklang<\/span><\/td>\n<\/tr>\n
\n

Harp<\/h4>\n<\/td>\n

Harfe<\/span><\/td>\n<\/tr>\n
\n

Harpsichord<\/h4>\n<\/td>\n

Cembalo<\/span><\/td>\n<\/tr>\n
\n

head type<\/h4>\n<\/td>\n

Notenkopf-Typ<\/span><\/td>\n<\/tr>\n
\n

head<\/h4>\n<\/td>\n

Notenkopf, Gitarrenkopf<\/span><\/td>\n<\/tr>\n
\n

header<\/h4>\n<\/td>\n

Kopfteil, Kopfzeilen<\/span><\/td>\n<\/tr>\n
\n

headstock<\/h4>\n<\/td>\n

Wirbelkasten<\/span><\/td>\n<\/tr>\n
\n

hearing<\/h4>\n<\/td>\n

Geh\u00f6r<\/span><\/td>\n<\/tr>\n
\n

heel<\/h4>\n<\/td>\n

Handballen<\/span><\/td>\n<\/tr>\n
\n

help<\/h4>\n<\/td>\n

Hilfe<\/span><\/td>\n<\/tr>\n
\n

hemiola<\/h4>\n<\/td>\n

Hemiole<\/span><\/td>\n<\/tr>\n
\n

hide<\/h4>\n<\/td>\n

verstecken<\/span><\/td>\n<\/tr>\n
\n

hold<\/h4>\n<\/td>\n

Pause<\/span><\/td>\n<\/tr>\n
\n

in tune<\/h4>\n<\/td>\n

richtig gestimmt<\/span><\/td>\n<\/tr>\n
\n

index finger<\/h4>\n<\/td>\n

Zeigefinger<\/span><\/td>\n<\/tr>\n
\n

instruction<\/h4>\n<\/td>\n

Spielanleitung<\/span><\/td>\n<\/tr>\n
\n

instructions<\/h4>\n<\/td>\n

Anweisungen<\/span><\/td>\n<\/tr>\n
\n

interval<\/h4>\n<\/td>\n

Intervall<\/span><\/td>\n<\/tr>\n
\n

introduction<\/h4>\n<\/td>\n

Einf\u00fchrung<\/span><\/td>\n<\/tr>\n
\n

inversion<\/h4>\n<\/td>\n

Umkehrung<\/span><\/td>\n<\/tr>\n
\n

inverted chord<\/h4>\n<\/td>\n

Umkehrungsakkord (Umkehrung Akkords)<\/span><\/td>\n<\/tr>\n
\n

joint<\/h4>\n<\/td>\n

Gelenk, Verbindungsstelle<\/span><\/td>\n<\/tr>\n
\n

Kettledrums<\/h4>\n<\/td>\n

Kesselpauken<\/span><\/td>\n<\/tr>\n
\n

key note, fundamental<\/h4>\n<\/td>\n

Grundton<\/span><\/td>\n<\/tr>\n
\n

key signature<\/h4>\n<\/td>\n

Generalvorzeichen (Tonart)<\/span><\/td>\n<\/tr>\n
\n

key<\/h4>\n<\/td>\n

Tonart, Taste<\/span><\/td>\n<\/tr>\n
\n

Keyboard instruments<\/h4>\n<\/td>\n

Tasteninstrumente<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

know by heart<\/h4>\n<\/td>\n

auswendig k\u00f6nnen „learn by heart“ – auswendig lernen<\/span><\/td>\n<\/tr>\n
\n

leading note<\/h4>\n<\/td>\n

Leitton<\/span><\/td>\n<\/tr>\n
\n

learn by heart<\/h4>\n<\/td>\n

auswendig lernen<\/span><\/td>\n<\/tr>\n
\n

ledger line<\/h4>\n<\/td>\n

Hilfslinie<\/span><\/td>\n<\/tr>\n
\n

left<\/h4>\n<\/td>\n

links<\/span><\/td>\n<\/tr>\n
\n

level<\/h4>\n<\/td>\n

Spielgrad<\/span><\/td>\n<\/tr>\n
\n

line<\/h4>\n<\/td>\n

Notenlinie<\/span><\/td>\n<\/tr>\n
\n

loud<\/h4>\n<\/td>\n

laut<\/span><\/td>\n<\/tr>\n
\n

low<\/h4>\n<\/td>\n

leise, tief<\/span><\/td>\n<\/tr>\n
\n

lute<\/h4>\n<\/td>\n

Laute<\/span><\/td>\n<\/tr>\n
\n

lyrics<\/h4>\n<\/td>\n

Liedtext. Text, dessen einzelne Teile immer den einzelnen Noten zugeordnet bleibt, im Gegensatz zu „text“ = freier Text im Notenbild.<\/span><\/td>\n<\/tr>\n
\n

machine head<\/h4>\n<\/td>\n

Mechanik<\/span><\/td>\n<\/tr>\n
\n

main accent<\/h4>\n<\/td>\n

Hauptbetonung<\/span><\/td>\n<\/tr>\n
\n

main harmony<\/h4>\n<\/td>\n

Hauptakkord<\/span><\/td>\n<\/tr>\n
\n

major<\/h4>\n<\/td>\n

Dur<\/span><\/td>\n<\/tr>\n
\n

make chord<\/h4>\n<\/td>\n

Akkord erzeugen<\/span><\/td>\n<\/tr>\n
\n

Mallets<\/h4>\n<\/td>\n

Stabspiele<\/span><\/td>\n<\/tr>\n
\n

Mandolin<\/h4>\n<\/td>\n

Mandoline<\/span><\/td>\n<\/tr>\n
\n

margin<\/h4>\n<\/td>\n

Rand, page margins = Seitenr\u00e4nder<\/span><\/td>\n<\/tr>\n
\n

marks<\/h4>\n<\/td>\n

Zeichen (z. B. staccato)<\/span><\/td>\n<\/tr>\n
\n

measure line (barline)<\/h4>\n<\/td>\n

Taktstrich<\/span><\/td>\n<\/tr>\n
\n

measure<\/h4>\n<\/td>\n

Takt<\/span><\/td>\n<\/tr>\n
\n

Men’s Choir<\/h4>\n<\/td>\n

M\u00e4nnerchor<\/span><\/td>\n<\/tr>\n
\n

middle part<\/h4>\n<\/td>\n

Mittelstimme<\/span><\/td>\n<\/tr>\n
\n

middle<\/h4>\n<\/td>\n

mittig, Mitte<\/span><\/td>\n<\/tr>\n
\n

midi driver<\/h4>\n<\/td>\n

MIDI Treiber<\/span><\/td>\n<\/tr>\n
\n

minim<\/h4>\n<\/td>\n

Halbe<\/span><\/td>\n<\/tr>\n
\n

minor triad<\/h4>\n<\/td>\n

Molldreiklang<\/span><\/td>\n<\/tr>\n
\n

minor<\/h4>\n<\/td>\n

Moll<\/span><\/td>\n<\/tr>\n
\n

Mixed Choir<\/h4>\n<\/td>\n

Gemischter Chor<\/span><\/td>\n<\/tr>\n
\n

move notes<\/h4>\n<\/td>\n

Noten bewegen (transponieren)<\/span><\/td>\n<\/tr>\n
\n

movement<\/h4>\n<\/td>\n

Satz, Bewegung<\/span><\/td>\n<\/tr>\n
\n

music book<\/h4>\n<\/td>\n

Notenheft<\/span><\/td>\n<\/tr>\n
\n

music paper<\/h4>\n<\/td>\n

Notenpapier<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

music stand<\/h4>\n<\/td>\n

Notenst\u00e4nder<\/span><\/td>\n<\/tr>\n
\n

music<\/h4>\n<\/td>\n

Musik<\/span><\/td>\n<\/tr>\n
\n

Musical Saw<\/h4>\n<\/td>\n

Singende S\u00e4ge<\/span><\/td>\n<\/tr>\n
\n

musical<\/h4>\n<\/td>\n

musikalisch<\/span><\/td>\n<\/tr>\n
\n

musician<\/h4>\n<\/td>\n

Musiker<\/span><\/td>\n<\/tr>\n
\n

mute<\/h4>\n<\/td>\n

abd\u00e4mpfen<\/span><\/td>\n<\/tr>\n
\n

natural minor<\/h4>\n<\/td>\n

nat\u00fcrliches Moll<\/span><\/td>\n<\/tr>\n
\n

natural<\/h4>\n<\/td>\n

Aufl\u00f6sungszeichen<\/span><\/td>\n<\/tr>\n
\n

neapolitan sixth<\/h4>\n<\/td>\n

Neapolitaner<\/span><\/td>\n<\/tr>\n
\n

neck playing<\/h4>\n<\/td>\n

Anschlag nahe am Hals (sul tasto)<\/span><\/td>\n<\/tr>\n
\n

neck<\/h4>\n<\/td>\n

Hals<\/span><\/td>\n<\/tr>\n
\n

new<\/h4>\n<\/td>\n

Neu<\/span><\/td>\n<\/tr>\n
\n

nimble<\/h4>\n<\/td>\n

flink<\/span><\/td>\n<\/tr>\n
\n

ninth<\/h4>\n<\/td>\n

None<\/span><\/td>\n<\/tr>\n
\n

non-harmonic notes<\/h4>\n<\/td>\n

harmoniefremde T\u00f6ne<\/span><\/td>\n<\/tr>\n
\n

notation<\/h4>\n<\/td>\n

Notation<\/span><\/td>\n<\/tr>\n
\n

note dotted<\/h4>\n<\/td>\n

punktierte Note<\/span><\/td>\n<\/tr>\n
\n

note head<\/h4>\n<\/td>\n

Notenkopf<\/span><\/td>\n<\/tr>\n
\n

note value<\/h4>\n<\/td>\n

Notenwert<\/span><\/td>\n<\/tr>\n
\n

notes<\/h4>\n<\/td>\n

Noten<\/span><\/td>\n<\/tr>\n
\n

nudge down<\/h4>\n<\/td>\n

nach unten r\u00fccken<\/span><\/td>\n<\/tr>\n
\n

nudge left<\/h4>\n<\/td>\n

nach links r\u00fccken<\/span><\/td>\n<\/tr>\n
\n

nudge right<\/h4>\n<\/td>\n

nach rechts r\u00fccken<\/span><\/td>\n<\/tr>\n
\n

nudge up<\/h4>\n<\/td>\n

nach oben r\u00fccken<\/span><\/td>\n<\/tr>\n
\n

numbers<\/h4>\n<\/td>\n

Nummern (measure numbers = Taktzahlen)<\/span><\/td>\n<\/tr>\n
\n

octave<\/h4>\n<\/td>\n

Oktave<\/span><\/td>\n<\/tr>\n
\n

on the fingerboard<\/h4>\n<\/td>\n

nahe am Griffbrett<\/span><\/td>\n<\/tr>\n
\n

open position<\/h4>\n<\/td>\n

weite Lage<\/span><\/td>\n<\/tr>\n
\n

open string<\/h4>\n<\/td>\n

leere Saite<\/span><\/td>\n<\/tr>\n
\n

open tuning<\/h4>\n<\/td>\n

offene Stimmung<\/span><\/td>\n<\/tr>\n
\n

open<\/h4>\n<\/td>\n

\u00f6ffnen<\/span><\/td>\n<\/tr>\n
\n

organ<\/h4>\n<\/td>\n

Orgel<\/span><\/td>\n<\/tr>\n
\n

other<\/h4>\n<\/td>\n

andere<\/span><\/td>\n<\/tr>\n
\n

out of tune<\/h4>\n<\/td>\n

verstimmt<\/span><\/td>\n<\/tr>\n
\n

overtones<\/h4>\n<\/td>\n

Obert\u00f6ne<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

page setup<\/h4>\n<\/td>\n

Seiteneinrchtung<\/span><\/td>\n<\/tr>\n
\n

page<\/h4>\n<\/td>\n

Seite (add page = Seite hinzuf\u00fcgen)<\/span><\/td>\n<\/tr>\n
\n

palm<\/h4>\n<\/td>\n

Handinnenfl\u00e4che, Handteller<\/span><\/td>\n<\/tr>\n
\n

part<\/h4>\n<\/td>\n

Stimme<\/span><\/td>\n<\/tr>\n
\n

passing note<\/h4>\n<\/td>\n

Durchgangsnote<\/span><\/td>\n<\/tr>\n
\n

paste<\/h4>\n<\/td>\n

einf\u00fcgen<\/span><\/td>\n<\/tr>\n
\n

pause<\/h4>\n<\/td>\n

Fermate<\/span><\/td>\n<\/tr>\n
\n

pedal<\/h4>\n<\/td>\n

Orgelpunkt<\/span><\/td>\n<\/tr>\n
\n

pencil<\/h4>\n<\/td>\n

Bleistift<\/span><\/td>\n<\/tr>\n
\n

percussion<\/h4>\n<\/td>\n

Schlagzeug, Schlagwerk, Schlaginstrumente<\/span><\/td>\n<\/tr>\n
\n

perfect cadence<\/h4>\n<\/td>\n

authentischer Schluss<\/span><\/td>\n<\/tr>\n
\n

perfect pitch<\/h4>\n<\/td>\n

absolutes Geh\u00f6r<\/span><\/td>\n<\/tr>\n
\n

perform<\/h4>\n<\/td>\n

auftreten, vorf\u00fchren<\/span><\/td>\n<\/tr>\n
\n

performance<\/h4>\n<\/td>\n

Auftritt<\/span><\/td>\n<\/tr>\n
\n

phrasing<\/h4>\n<\/td>\n

Phrasierung<\/span><\/td>\n<\/tr>\n
\n

Piano<\/h4>\n<\/td>\n

Klavier<\/span><\/td>\n<\/tr>\n
\n

pick-up notes<\/h4>\n<\/td>\n

Auftaktnoten<\/span><\/td>\n<\/tr>\n
\n

pick-up<\/h4>\n<\/td>\n

Auftakt, Tonabnehmer<\/span><\/td>\n<\/tr>\n
\n

pick<\/h4>\n<\/td>\n

Plektrum, anschlagen<\/span><\/td>\n<\/tr>\n
\n

pickup bar<\/h4>\n<\/td>\n

Auftakt, auch pickup measure<\/span><\/td>\n<\/tr>\n
\n

pickup measure<\/h4>\n<\/td>\n

Auftakt<\/span><\/td>\n<\/tr>\n
\n

piece<\/h4>\n<\/td>\n

Musikst\u00fcck<\/span><\/td>\n<\/tr>\n
\n

pitch<\/h4>\n<\/td>\n

Tonh\u00f6he<\/span><\/td>\n<\/tr>\n
\n

play<\/h4>\n<\/td>\n

spielen<\/span><\/td>\n<\/tr>\n
\n

player<\/h4>\n<\/td>\n

Spieler<\/span><\/td>\n<\/tr>\n
\n

Plucked Instruments<\/h4>\n<\/td>\n

Zupfinstrumente<\/span><\/td>\n<\/tr>\n
\n

plucked<\/h4>\n<\/td>\n

gezupft<\/span><\/td>\n<\/tr>\n
\n

plywood<\/h4>\n<\/td>\n

Sperrholz<\/span><\/td>\n<\/tr>\n
\n

point of arrival<\/h4>\n<\/td>\n

Zielpunkt<\/span><\/td>\n<\/tr>\n
\n

position changing<\/h4>\n<\/td>\n

Lagenwechsel<\/span><\/td>\n<\/tr>\n
\n

position III<\/h4>\n<\/td>\n

3. Lage<\/span><\/td>\n<\/tr>\n
\n

posture<\/h4>\n<\/td>\n

Haltung<\/span><\/td>\n<\/tr>\n
\n

practise<\/h4>\n<\/td>\n

\u00dcbung<\/span><\/td>\n<\/tr>\n
\n

preferences<\/h4>\n<\/td>\n

Voreinstellungen<\/span><\/td>\n<\/tr>\n
\n

prefs<\/h4>\n<\/td>\n

„preferences“ Voreinstellungen<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

preparation<\/h4>\n<\/td>\n

Vorbereitung<\/span><\/td>\n<\/tr>\n
\n

pressure<\/h4>\n<\/td>\n

Druck<\/span><\/td>\n<\/tr>\n
\n

principal chord<\/h4>\n<\/td>\n

Grundakkord<\/span><\/td>\n<\/tr>\n
\n

print<\/h4>\n<\/td>\n

drucken<\/span><\/td>\n<\/tr>\n
\n

program change<\/h4>\n<\/td>\n

Programmwechsel, Klangwechsel<\/span><\/td>\n<\/tr>\n
\n

progress<\/h4>\n<\/td>\n

Fortschritt<\/span><\/td>\n<\/tr>\n
\n

propulsion<\/h4>\n<\/td>\n

Antrieb<\/span><\/td>\n<\/tr>\n
\n

pull-off<\/h4>\n<\/td>\n

Abzug (Bindung)<\/span><\/td>\n<\/tr>\n
\n

pupil<\/h4>\n<\/td>\n

Sch\u00fcler<\/span><\/td>\n<\/tr>\n
\n

quantize<\/h4>\n<\/td>\n

quantisieren<\/span><\/td>\n<\/tr>\n
\n

quarter note<\/h4>\n<\/td>\n

Viertelnote<\/span><\/td>\n<\/tr>\n
\n

quaver<\/h4>\n<\/td>\n

Achtelnote<\/span><\/td>\n<\/tr>\n
\n

quintuplet<\/h4>\n<\/td>\n

Quintole<\/span><\/td>\n<\/tr>\n
\n

quit<\/h4>\n<\/td>\n

aufgeben, beenden<\/span><\/td>\n<\/tr>\n
\n

real time<\/h4>\n<\/td>\n

Echtzeit, real time recording = Aufnahme in Echtzeit<\/span><\/td>\n<\/tr>\n
\n

record<\/h4>\n<\/td>\n

aufnehmen<\/span><\/td>\n<\/tr>\n
\n

recorder<\/h4>\n<\/td>\n

Blockfl\u00f6te<\/span><\/td>\n<\/tr>\n
\n

rectangle<\/h4>\n<\/td>\n

Rechteck<\/span><\/td>\n<\/tr>\n
\n

refresh<\/h4>\n<\/td>\n

erneuern<\/span><\/td>\n<\/tr>\n
\n

region<\/h4>\n<\/td>\n

Bereich<\/span><\/td>\n<\/tr>\n
\n

register<\/h4>\n<\/td>\n

Stimmlage<\/span><\/td>\n<\/tr>\n
\n

rehearsal<\/h4>\n<\/td>\n

Probe<\/span><\/td>\n<\/tr>\n
\n

relative<\/h4>\n<\/td>\n

verwandte Tonparallele<\/span><\/td>\n<\/tr>\n
\n

remove<\/h4>\n<\/td>\n

entfernen<\/span><\/td>\n<\/tr>\n
\n

rename<\/h4>\n<\/td>\n

umbenennen<\/span><\/td>\n<\/tr>\n
\n

repeat<\/h4>\n<\/td>\n

wiederholen<\/span><\/td>\n<\/tr>\n
\n

repetition<\/h4>\n<\/td>\n

Wiederholung<\/span><\/td>\n<\/tr>\n
\n

response, speech<\/h4>\n<\/td>\n

Ansprache<\/span><\/td>\n<\/tr>\n
\n

rest type<\/h4>\n<\/td>\n

Pausen Typ<\/span><\/td>\n<\/tr>\n
\n

rest<\/h4>\n<\/td>\n

Pause<\/span><\/td>\n<\/tr>\n
\n

retrograde<\/h4>\n<\/td>\n

„r\u00fcckl\u00e4ufig“ – Krebs: Tonfolge von hinten nach vorne.<\/span><\/td>\n<\/tr>\n
\n

retuning<\/h4>\n<\/td>\n

nachstimmen, Kontrolle der Stimmung<\/span><\/td>\n<\/tr>\n
\n

returning note<\/h4>\n<\/td>\n

Wechselnote<\/span><\/td>\n<\/tr>\n
\n

revered to saved<\/h4>\n<\/td>\n

zur\u00fcck zur letzten gesicherten Fassung<\/span><\/td>\n<\/tr>\n
\n

rhythm<\/h4>\n<\/td>\n

Rhythmus<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

right<\/h4>\n<\/td>\n

rechts<\/span><\/td>\n<\/tr>\n
\n

roll<\/h4>\n<\/td>\n

Wechselschlag<\/span><\/td>\n<\/tr>\n
\n

root in the top part<\/h4>\n<\/td>\n

Grundton in der Oberstimme<\/span><\/td>\n<\/tr>\n
\n

root position<\/h4>\n<\/td>\n

Oktavlage<\/span><\/td>\n<\/tr>\n
\n

root<\/h4>\n<\/td>\n

Grundton<\/span><\/td>\n<\/tr>\n
\n

rose<\/h4>\n<\/td>\n

Rosette<\/span><\/td>\n<\/tr>\n
\n

rosewood<\/h4>\n<\/td>\n

Palisander<\/span><\/td>\n<\/tr>\n
\n

rosin, resin<\/h4>\n<\/td>\n

Kolophonium<\/span><\/td>\n<\/tr>\n
\n

ruler<\/h4>\n<\/td>\n

Lineal<\/span><\/td>\n<\/tr>\n
\n

run<\/h4>\n<\/td>\n

Lauf<\/span><\/td>\n<\/tr>\n
\n

save as…<\/h4>\n<\/td>\n

sichern als…<\/span><\/td>\n<\/tr>\n
\n

save<\/h4>\n<\/td>\n

sichern<\/span><\/td>\n<\/tr>\n
\n

scale length<\/h4>\n<\/td>\n

Mensur<\/span><\/td>\n<\/tr>\n
\n

scale<\/h4>\n<\/td>\n

Tonleiter<\/span><\/td>\n<\/tr>\n
\n

score<\/h4>\n<\/td>\n

Noten (im Sinne von Notenblatt, Partitur)<\/span><\/td>\n<\/tr>\n
\n

second dominant<\/h4>\n<\/td>\n

Zwischendominante<\/span><\/td>\n<\/tr>\n
\n

second inversion<\/h4>\n<\/td>\n

zweite Umkehrung<\/span><\/td>\n<\/tr>\n
\n

section<\/h4>\n<\/td>\n

Abschnitt eines Musikst\u00fccks<\/span><\/td>\n<\/tr>\n
\n

select, selected<\/h4>\n<\/td>\n

ausw\u00e4hlen, ausgew\u00e4hlt. „select all“ = alles ausw\u00e4hlen<\/span><\/td>\n<\/tr>\n
\n

semibreve<\/h4>\n<\/td>\n

Ganze<\/span><\/td>\n<\/tr>\n
\n

semiquaver<\/h4>\n<\/td>\n

Sechszehntel<\/span><\/td>\n<\/tr>\n
\n

semitone<\/h4>\n<\/td>\n

Halbton<\/span><\/td>\n<\/tr>\n
\n

set to voice 1<\/h4>\n<\/td>\n

Der 1. Stimme zuordnen<\/span><\/td>\n<\/tr>\n
\n

seventh chord<\/h4>\n<\/td>\n

Septakkord (Septimakkord)<\/span><\/td>\n<\/tr>\n
\n

seventh<\/h4>\n<\/td>\n

Septime<\/span><\/td>\n<\/tr>\n
\n

Shaker<\/h4>\n<\/td>\n

Sch\u00fcttelrohr<\/span><\/td>\n<\/tr>\n
\n

sharp<\/h4>\n<\/td>\n

Kreuz, Erh\u00f6hungszeichen<\/span><\/td>\n<\/tr>\n
\n

sheet music<\/h4>\n<\/td>\n

(gedruckte) Noten<\/span><\/td>\n<\/tr>\n
\n

shellac<\/h4>\n<\/td>\n

Schellack<\/span><\/td>\n<\/tr>\n
\n

shift accidental left<\/h4>\n<\/td>\n

Vorzeichen nach links verschieben<\/span><\/td>\n<\/tr>\n
\n

show<\/h4>\n<\/td>\n

anzeigen<\/span><\/td>\n<\/tr>\n
\n

sight reading<\/h4>\n<\/td>\n

vom Blatt spielen<\/span><\/td>\n<\/tr>\n
\n

simultaneously<\/h4>\n<\/td>\n

gleichzeitig<\/span><\/td>\n<\/tr>\n
\n

sing<\/h4>\n<\/td>\n

singen<\/span><\/td>\n<\/tr>\n
\n

single note<\/h4>\n<\/td>\n

Einzelton<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

six-eight time<\/h4>\n<\/td>\n

6<\/sup>\/8<\/sub> Takt<\/span><\/td>\n<\/tr>\n
\n

six-four chord<\/h4>\n<\/td>\n

Quartsextakkord<\/span><\/td>\n<\/tr>\n
\n

sixteenth note<\/h4>\n<\/td>\n

Sechszehntelnote<\/span><\/td>\n<\/tr>\n
\n

sixth<\/h4>\n<\/td>\n

Sexte<\/span><\/td>\n<\/tr>\n
\n

size<\/h4>\n<\/td>\n

Gr\u00f6\u00dfe<\/span><\/td>\n<\/tr>\n
\n

skill<\/h4>\n<\/td>\n

Fertigkeit, Geschicklichkeit<\/span><\/td>\n<\/tr>\n
\n

slacky<\/h4>\n<\/td>\n

lasch, weich<\/span><\/td>\n<\/tr>\n
\n

slash<\/h4>\n<\/td>\n

Schr\u00e4gstrich \/<\/span><\/td>\n<\/tr>\n
\n

Sleigh Bells<\/h4>\n<\/td>\n

Schellen<\/span><\/td>\n<\/tr>\n
\n

slide<\/h4>\n<\/td>\n

Glissando<\/span><\/td>\n<\/tr>\n
\n

slur<\/h4>\n<\/td>\n

Bindung, Bindebogen<\/span><\/td>\n<\/tr>\n
\n

snap<\/h4>\n<\/td>\n

Abzugsbindung auf leerer Saite<\/span><\/td>\n<\/tr>\n
\n

solo passage<\/h4>\n<\/td>\n

Soloteil<\/span><\/td>\n<\/tr>\n
\n

song<\/h4>\n<\/td>\n

Lied<\/span><\/td>\n<\/tr>\n
\n

Soprano Saxophone<\/h4>\n<\/td>\n

Sopransaxophon<\/span><\/td>\n<\/tr>\n
\n

Soprano<\/h4>\n<\/td>\n

Sopran<\/span><\/td>\n<\/tr>\n
\n

sound<\/h4>\n<\/td>\n

Klang, Ton<\/span><\/td>\n<\/tr>\n
\n

soundhole<\/h4>\n<\/td>\n

Schalloch<\/span><\/td>\n<\/tr>\n
\n

space<\/h4>\n<\/td>\n

Spatium, Zwischenraum bei Notenlinien<\/span><\/td>\n<\/tr>\n
\n

spacing<\/h4>\n<\/td>\n

Abst\u00e4nde<\/span><\/td>\n<\/tr>\n
\n

speed<\/h4>\n<\/td>\n

Tempo, Geschwindigkeit<\/span><\/td>\n<\/tr>\n
\n

split<\/h4>\n<\/td>\n

aufteilen<\/span><\/td>\n<\/tr>\n
\n

staff<\/h4>\n<\/td>\n

Notensystem<\/span><\/td>\n<\/tr>\n
\n

stage<\/h4>\n<\/td>\n

B\u00fchne<\/span><\/td>\n<\/tr>\n
\n

stave(s)<\/h4>\n<\/td>\n

einzelne Notenzeile(n), im Gegensatz zu Notensystemen, welche auch auch 2 Zeilen (z. B. beim Klavier) bestehen k\u00f6nnen.<\/span><\/td>\n<\/tr>\n
\n

stem down<\/h4>\n<\/td>\n

Notenhals nach unten<\/span><\/td>\n<\/tr>\n
\n

stem height<\/h4>\n<\/td>\n

Notenhals L\u00e4nge („H\u00f6he“)<\/span><\/td>\n<\/tr>\n
\n

stem up<\/h4>\n<\/td>\n

Notenhals nach oben<\/span><\/td>\n<\/tr>\n
\n

stem<\/h4>\n<\/td>\n

Notenhals<\/span><\/td>\n<\/tr>\n
\n

step<\/h4>\n<\/td>\n

Stufe (Tonleiter)<\/span><\/td>\n<\/tr>\n
\n

strength of tone<\/h4>\n<\/td>\n

Tonst\u00e4rke<\/span><\/td>\n<\/tr>\n
\n

strength<\/h4>\n<\/td>\n

Kraft, St\u00e4rke<\/span><\/td>\n<\/tr>\n
\n

stressed<\/h4>\n<\/td>\n

betont<\/span><\/td>\n<\/tr>\n
\n

stretch<\/h4>\n<\/td>\n

Dehnung<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

string winder<\/h4>\n<\/td>\n

Saitenspindel<\/span><\/td>\n<\/tr>\n
\n

string<\/h4>\n<\/td>\n

Saite<\/span><\/td>\n<\/tr>\n
\n

Strings<\/h4>\n<\/td>\n

Streicher<\/span><\/td>\n<\/tr>\n
\n

strum<\/h4>\n<\/td>\n

Akkord mit Fingern anschlagen<\/span><\/td>\n<\/tr>\n
\n

study<\/h4>\n<\/td>\n

Et\u00fcde, \u00dcbung<\/span><\/td>\n<\/tr>\n
\n

suspended chord<\/h4>\n<\/td>\n

Vorhaltakkord<\/span><\/td>\n<\/tr>\n
\n

suspension<\/h4>\n<\/td>\n

Vorhalt<\/span><\/td>\n<\/tr>\n
\n

sustain<\/h4>\n<\/td>\n

Anhalten eines Tons, Tonl\u00e4nge<\/span><\/td>\n<\/tr>\n
\n

table<\/h4>\n<\/td>\n

Decke der Gitarre<\/span><\/td>\n<\/tr>\n
\n

tailpiece<\/h4>\n<\/td>\n

Saitenhalter<\/span><\/td>\n<\/tr>\n
\n

tempo<\/h4>\n<\/td>\n

Tempo<\/span><\/td>\n<\/tr>\n
\n

tenacity<\/h4>\n<\/td>\n

Hartn\u00e4ckigkeit, Z\u00e4higkeit<\/span><\/td>\n<\/tr>\n
\n

Tenor Saxophone<\/h4>\n<\/td>\n

Tenorsaxophon<\/span><\/td>\n<\/tr>\n
\n

tension<\/h4>\n<\/td>\n

Spannung<\/span><\/td>\n<\/tr>\n
\n

third<\/h4>\n<\/td>\n

Terz<\/span><\/td>\n<\/tr>\n
\n

thorough-bass<\/h4>\n<\/td>\n

Generalbass<\/span><\/td>\n<\/tr>\n
\n

three-four time<\/h4>\n<\/td>\n

dreiviertel Takt<\/span><\/td>\n<\/tr>\n
\n

thumb<\/h4>\n<\/td>\n

Daumen<\/span><\/td>\n<\/tr>\n
\n

tie notes<\/h4>\n<\/td>\n

Noten verbinden (mit Haltebogen – im Gegensatz zu Bindebogen = slur)<\/span><\/td>\n<\/tr>\n
\n

tie<\/h4>\n<\/td>\n

Haltebogen<\/span><\/td>\n<\/tr>\n
\n

time signature<\/h4>\n<\/td>\n

Taktangabe<\/span><\/td>\n<\/tr>\n
\n

times per measure<\/h4>\n<\/td>\n

Schl\u00e4ge (Zeiteinheiten) pro Takt<\/span><\/td>\n<\/tr>\n
\n

Timpani<\/h4>\n<\/td>\n

Pauken<\/span><\/td>\n<\/tr>\n
\n

title<\/h4>\n<\/td>\n

Titel<\/span><\/td>\n<\/tr>\n
\n

toolbar<\/h4>\n<\/td>\n

Werkzeug-Leiste<\/span><\/td>\n<\/tr>\n
\n

top part<\/h4>\n<\/td>\n

Oberstimme<\/span><\/td>\n<\/tr>\n
\n

top<\/h4>\n<\/td>\n

Decke der Gitarre<\/span><\/td>\n<\/tr>\n
\n

transpose<\/h4>\n<\/td>\n

transponieren<\/span><\/td>\n<\/tr>\n
\n

treble clef<\/h4>\n<\/td>\n

Violinschl\u00fcssel<\/span><\/td>\n<\/tr>\n
\n

treble strings<\/h4>\n<\/td>\n

Diskantsaiten<\/span><\/td>\n<\/tr>\n
\n

triad<\/h4>\n<\/td>\n

Dreiklang<\/span><\/td>\n<\/tr>\n
\n

trill<\/h4>\n<\/td>\n

Triller<\/span><\/td>\n<\/tr>\n
\n

triple tonguing<\/h4>\n<\/td>\n

Tripelzunge<\/span><\/td>\n<\/tr>\n
\n

triplet<\/h4>\n<\/td>\n

Triole<\/span><\/td>\n<\/tr>\n
\n

Trombone<\/h4>\n<\/td>\n

Posaune<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

Trumpet<\/h4>\n<\/td>\n

Trompete<\/span><\/td>\n<\/tr>\n
\n

Tubular Chimes<\/h4>\n<\/td>\n

R\u00f6hrenglocken<\/span><\/td>\n<\/tr>\n
\n

tune<\/h4>\n<\/td>\n

Melodie, Stimmung (Saiten)<\/span><\/td>\n<\/tr>\n
\n

tuned<\/h4>\n<\/td>\n

gestimmt<\/span><\/td>\n<\/tr>\n
\n

tuning fork<\/h4>\n<\/td>\n

Stimmgabel<\/span><\/td>\n<\/tr>\n
\n

tuning peg<\/h4>\n<\/td>\n

Wirbel<\/span><\/td>\n<\/tr>\n
\n

tuning<\/h4>\n<\/td>\n

Stimmung<\/span><\/td>\n<\/tr>\n
\n

tuplet<\/h4>\n<\/td>\n

N-Tolen, z. B. Triolen (triplet)<\/span><\/td>\n<\/tr>\n
\n

two-four time<\/h4>\n<\/td>\n

Zweivierteltakt<\/span><\/td>\n<\/tr>\n
\n

undo<\/h4>\n<\/td>\n

r\u00fcckg\u00e4ngig machen<\/span><\/td>\n<\/tr>\n
\n

unison<\/h4>\n<\/td>\n

Einklang<\/span><\/td>\n<\/tr>\n
\n

unit<\/h4>\n<\/td>\n

Einheit (inhaltlich)<\/span><\/td>\n<\/tr>\n
\n

unplayable<\/h4>\n<\/td>\n

unausf\u00fchrbar<\/span><\/td>\n<\/tr>\n
\n

unstressed<\/h4>\n<\/td>\n

unbetont<\/span><\/td>\n<\/tr>\n
\n

upper arm<\/h4>\n<\/td>\n

Oberarm<\/span><\/td>\n<\/tr>\n
\n

upstroke<\/h4>\n<\/td>\n

Anschlag der Saiten von unten<\/span><\/td>\n<\/tr>\n
\n

values<\/h4>\n<\/td>\n

Werte, Einstellungen<\/span><\/td>\n<\/tr>\n
\n

velocity<\/h4>\n<\/td>\n

Geschwindigkeit, Tempo<\/span><\/td>\n<\/tr>\n
\n

Vibraphone<\/h4>\n<\/td>\n

Vibraphon<\/span><\/td>\n<\/tr>\n
\n

view<\/h4>\n<\/td>\n

zeigen, Ansicht<\/span><\/td>\n<\/tr>\n
\n

Violin<\/h4>\n<\/td>\n

Violine, Geige<\/span><\/td>\n<\/tr>\n
\n

voice<\/h4>\n<\/td>\n

Stimme<\/span><\/td>\n<\/tr>\n
\n

volume<\/h4>\n<\/td>\n

Lautst\u00e4rke<\/span><\/td>\n<\/tr>\n
\n

warp<\/h4>\n<\/td>\n

Verziehen des Gitarrenhalses<\/span><\/td>\n<\/tr>\n
\n

wedge<\/h4>\n<\/td>\n

Keil, siehe auch „hairpin“ Crescendo bzw. decresc. Gabel<\/span><\/td>\n<\/tr>\n
\n

whole note<\/h4>\n<\/td>\n

ganze Note<\/span><\/td>\n<\/tr>\n
\n

whole rest<\/h4>\n<\/td>\n

Ganze Pause<\/span><\/td>\n<\/tr>\n
\n

whole step<\/h4>\n<\/td>\n

Ganztonschritt<\/span><\/td>\n<\/tr>\n
\n

width<\/h4>\n<\/td>\n

Breite<\/span><\/td>\n<\/tr>\n
\n

Wind Chimes<\/h4>\n<\/td>\n

Windglocken<\/span><\/td>\n<\/tr>\n
\n

Wind Machine<\/h4>\n<\/td>\n

Windmaschine<\/span><\/td>\n<\/tr>\n
\n

windows<\/h4>\n<\/td>\n

Fenster<\/span><\/td>\n<\/tr>\n
\n

Women’s Choir<\/h4>\n<\/td>\n

Frauenchor<\/span><\/td>\n<\/tr>\n
\n

Woodblock<\/h4>\n<\/td>\n

Holzblock<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
<\/div>\n\n\n\n\n\n\n
\n

woodwinds<\/h4>\n<\/td>\n

Woodwind – Holzbl\u00e4ser<\/span><\/td>\n<\/tr>\n
\n

wound<\/h4>\n<\/td>\n

umsponnen (Saite)<\/span><\/td>\n<\/tr>\n
\n

wrist<\/h4>\n<\/td>\n

Handgelenk<\/span><\/td>\n<\/tr>\n
\n

Xylophone<\/h4>\n<\/td>\n

Xylophon<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/p>\n

\"Druckansicht\"<\/a> Druckansicht<\/a><\/div>\n","protected":false},"excerpt":{"rendered":"

A – Z im Lexikon der englischen Musik-Fachw\u00f6rter: Alles auf einer Seite (11 Seiten beim Ausdruck auf DIN A4) – auch zum Download als PDF und Word Dokument.<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[371],"tags":[],"class_list":["post-1966","post","type-post","status-publish","format-standard","hentry","category-musik-englisch-deutsch"],"_links":{"self":[{"href":"https:\/\/www.musiklehre.at\/g7\/wp-json\/wp\/v2\/posts\/1966","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.musiklehre.at\/g7\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.musiklehre.at\/g7\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.musiklehre.at\/g7\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.musiklehre.at\/g7\/wp-json\/wp\/v2\/comments?post=1966"}],"version-history":[{"count":6,"href":"https:\/\/www.musiklehre.at\/g7\/wp-json\/wp\/v2\/posts\/1966\/revisions"}],"predecessor-version":[{"id":2131,"href":"https:\/\/www.musiklehre.at\/g7\/wp-json\/wp\/v2\/posts\/1966\/revisions\/2131"}],"wp:attachment":[{"href":"https:\/\/www.musiklehre.at\/g7\/wp-json\/wp\/v2\/media?parent=1966"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.musiklehre.at\/g7\/wp-json\/wp\/v2\/categories?post=1966"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.musiklehre.at\/g7\/wp-json\/wp\/v2\/tags?post=1966"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}