===== DT =====

[[cento:centologia |🔘]]  nach Agustoni 1987  


{| style="width: 100%;"

|style="width:60px; border-left: 3px solid #aaaaaa; border-top: 3px solid #aaaaaa" | mi/re
|style="width:840px; border-top: 3px solid #aaaaaa; border-right: 3px solid #aaaaaa" | obere Grenze des modalen Tonraumes; gewöhnlich Tonstufen für Ornamentnoten in Bezug zu "do" oder noch tieferen Tonstufen
|-
|style="border-left: 3px solid #aaaaaa" | do
|style="border-right: 3px solid #aaaaaa" | subsemitonale, modal wichtige Tonstufe mit starker Anziehungskraft auf die Hauptstrukturstufe "si" (des III. Modus)
|-
|style="border-left: 3px solid #aaaaaa" | si
|style="border-right: 3px solid #aaaaaa" | Hauptstrukturstufe des 3. Psalmtons und der Deuteruskomposition zur Quint (III);\\
**"si"** in Bezug zu "do" oder unterem "Mi";\\
**"sa"** in Bezug zu unterem "fa";\\
(in Bezug zu "sol" oder "Mi" ist das "b" fragwürdig, sosehr es auch in späterer Tradition bestätigt ist)
|-
|style="border-left: 3px solid #aaaaaa" | la
|style="border-right: 3px solid #aaaaaa" | Hauptstrukturstufe des 4. Psalmtons und der Deuteruskomposition zur Quart (IV)
|-
|style="border-left: 3px solid #aaaaaa" | sol
|style="border-right: 3px solid #aaaaaa" | Strukturstufe der Komposition und der melismatischen Psalmodie\\ (IV) oder:\\
Hauptstrukturstufe der Komposition und der Psalmodie im Deuterus zur Terz (IV*)
|-
|style="border-left: 3px solid #aaaaaa" | fa
|style="border-right: 3px solid #aaaaaa" | subsemitonale, modal wichtige Tonstufe mit starker Anziehungskraft auf die Tonstufe der Finalis //Mi//.
|-
|style="border-left: 3px solid #aaaaaa" | MI
|style="border-right: 3px solid #aaaaaa" | FINALIS \\
zugleich:\\
Strukturstufe besonders der Komposition im IV. Modus und der melismatischen Psalmodie (IV)
|-
|style="border-left: 3px solid #aaaaaa" | re
|style="border-right: 3px solid #aaaaaa" | bisweilen Tonstufe für Binnenkadenzen
|-
|style="border-left: 3px solid #aaaaaa" | do
|style="border-right: 3px solid #aaaaaa" | untere Grenzstufe des modalen Tonraumes.
|-
|style="border-left: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" | B
|style="border-right: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" | <fc #008000>Reicht die Melodie unter das //do//, so folgt immer B (si-be-molle), nie h (si-be-durum).</fc>
|-

|}

===== Conversio ad DT =====

Es ist typisch für den Deuterus einen Cento (Finalcento) des Protus (Tetrardus?) nicht auf "re" zu beenden, sondern zum "mi" zu wenden.

–––––––––––––––––––––––––––––––––––––––––––––––––––––––

[[cento:centologia |🔘]]  according to Agustoni 1987 

{| style="width: 100%;"

|style="width:60px; border-left: 3px solid #aaaaaa; border-top: 3px solid #aaaaaa" | mi/re
|style="width:840px; border-top: 3px solid #aaaaaa; border-right: 3px solid #aaaaaa" | upper limit of the modal range; usually pitches for ornamental notes in relation to “do” or even lower pitches
|-
|style="border-left: 3px solid #aaaaaa" | do
|style="border-right: 3px solid #aaaaaa" | subsemitonal, modally important pitch with a strong attraction to the main structural level “si” (of the third mode)
|-
|style="border-left: 3px solid #aaaaaa" | si
|style="border-right: 3px solid #aaaaaa" | Main structural level of the 3rd psalm tone and the deuterus composition to the fifth (III);\\
**"si "** in relation to "do" or lower "Mi";\\
**"do "** in relation to lower "fa";\\
(in relation to "sol" or "Mi" the "b" is questionable, however much it is confirmed in later tradition)
|-
|style="border-left: 3px solid #aaaaaa" | la
|style="border-right: 3px solid #aaaaaa" | Main structural level of the 4th psalm tone and the deuterus composition to the fourth (IV)
|-
|style="border-left: 3px solid #aaaaaa" | sol
|style="border-right: 3px solid #aaaaaa" | Structural level of the composition and the melismatic psalmody\\ (IV) or:\\
Main structural level of the composition and the psalmody in the deuterus to the third (IV*)
|-
|style="border-left: 3px solid #aaaaaa" | fa
|style="border-right: 3px solid #aaaaaa" | subsemitonal, modally important pitch with a strong attraction to the pitch of the final //Mi//.
|-
|style="border-left: 3px solid #aaaaaa" | MI
|style="border-right: 3px solid #aaaaaa" | FINALIS \\
at the same time:\\
Structural stage, especially of the composition in the IVth mode and the melismatic psalmody (IV)
|-
|style="border-left: 3px solid #aaaaaa" | re
|style="border-right: 3px solid #aaaaaa" | sometimes tone step for internal cadences
|-
|style="border-left: 3px solid #aaaaaa" | do
|style="border-right: 3px solid #aaaaaa" | lower limit of the modal range.
|-
|style="border-left: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" | B
|style="border-right: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" | <fc #008000>If the melody reaches below the //do//, it is always followed by B (si-be-molle), never h (si-be-durum).</fc>
|-

|}


===== Conversio ad DT =====

It is typical for Deuterus not to end a cento (final cento) of Protus (Tetrardus?) on “re”, but to turn it to “mi”.