===== PR =====

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

{| style="width: 100%;"

|style="width:60px; border-left: 3px solid #aaaaaa; border-top: 3px solid #aaaaaa" | re
|style="width:840px; border-top: 3px solid #aaaaaa; border-right: 3px solid #aaaaaa" | obere Grenzstufe des modalen Tonraumes; als Hervorhebung eines textlich-musikalischen Intensivpunktes \\ oder in Ornamentfunktion in Bezug auf "do"; \\ im Fall einer Transposition des Protus in die obere Quint (mit Grundton "la") auch als Rezitations- bzw. Strukturstufe möglich.
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|style="border-left: 3px solid #aaaaaa" | do
|style="border-right: 3px solid #aaaaaa" | komplementäre Strukturtonstufe; subsemitonale, modal wichtige Stufe.
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|style="border-left: 3px solid #aaaaaa" | si
|style="border-right: 3px solid #aaaaaa" | schwache Tonstufe, bevorzugter Ort einer Quilismanote = flüchtiger Durchgang vom "la" zum "do".\\ "**si**" im Bezug zu "do" öfter vervielfacht in Bezug zu "la"\\
Sonderfall: Intonationsformel Re⤴︎la⤴︎si⤵︎la \\
"**sa**" als obere Wechselnote in Bezug zu “la": oft auch in Bezug zu tieferen Tonstufen (sol,fa);\\ ursprünglich als Halbton über dem "mi" (transponiert “la“) des Urmodus MI verwendet.
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|style="border-left: 3px solid #aaaaaa" | la
|style="border-right: 3px solid #aaaaaa" | Hauptstrukturstufe des 1. Psalmtons und der Protuskomposition zur Quint.;
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|style="border-left: 3px solid #aaaaaa" | sol
|style="border-right: 3px solid #aaaaaa" | sekundäre Strukturstufe  der Komposition und der melismatischen Psalmodie (I-II),oder:\\
Hauptstrukturstufe der Komposition und der Psalmodie im Protus zur Quart (II*).; sonst\\
Durchgangsstufe aufsteigend zu "la", absteigend zu "fa";
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|style="border-left: 3px solid #aaaaaa" | fa
|style="border-right: 3px solid #aaaaaa" | Hauptstrukturstufe des 2. Psalmtons und der Protuskomposition zur Terz (II); subsemitonale, modal wichtige Stufe;
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|style="border-left: 3px solid #aaaaaa" | mi
|style="border-right: 3px solid #aaaaaa" | schwache Tonstufe, häufiger Ort einer Quilismanote = flüchtiger Durchgang von "re" zu "fa"; oder\\ Tonstufe kleinerer Interpunktationskadenzen;
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|style="border-left: 3px solid #aaaaaa" | RE
|style="border-right: 3px solid #aaaaaa" | FINALIS, zugleich\\ Strukturstufe, besonders in der Komposition und der melismatischen Psalmodie des 2. Modus;
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|style="border-left: 3px solid #aaaaaa" | do
|style="border-right: 3px solid #aaaaaa" | gelegentlich Tonstufe der Binnenkadenzen auf der 'Subtonika';
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|style="border-left: 3px solid #aaaaaa" | si
|style="border-right: 3px solid #aaaaaa" | seltene Durchgangsstufe von "la" zu "do"; gelegentlich auch Ort einer Wechselnote (z.B. do⤵︎si⤴︎do⤴︎re); meist leere Tonstufe;
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|style="border-left: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" | la
|style="border-right: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" | untere Grenzstufe des modalen Tonraumes; häufig in modalem Spannungsverhältnis zu "Re" (sowohl Re⤵︎do0135la als auch la⤴︎do⤴︎Re) in erster Linie im II.Modus.
|-
|}

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

{| style="width: 100%;"

|style="width:60px; border-left: 3px solid #aaaaaa; border-top: 3px solid #aaaaaa" | re
|style="width:840px; border-top: 3px solid #aaaaaa; border-right: 3px solid #aaaaaa" | upper limit of the modal range; as an emphasis of a textual-musical intensive point \\ or in ornamental function in relation to “do”; \\ in the case of a transposition of the protus into the upper fifth (with root “la”) also possible as a recitative or structural level.
|-
|style="border-left: 3px solid #aaaaaa" | do
|style="border-right: 3px solid #aaaaaa" | complementary structural tone stage; subsemitonal, modally important stage.
|-
|style="border-left: 3px solid #aaaaaa" | si
|style="border-right: 3px solid #aaaaaa" | weak tone level, preferred place of a quilismanote = fleeting passage from "la" to "do". \\ "**si**" in relation to "do" often multiplied in relation to "la"\\
Special case: intonation formula Re⤴︎la⤴︎si⤵︎la \\
"**sa**" as an upper alternating note in relation to "la": often also in relation to lower pitches (sol,fa);\\ originally used as a semitone above the "mi" (transposed "la") of the original mode MI.
|-
|style="border-left: 3px solid #aaaaaa" | la
|style="border-right: 3px solid #aaaaaa" | Main structural level of the 1st psalm tone and the protus composition to the fifth;
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|style="border-left: 3px solid #aaaaaa" | sol
|style="border-right: 3px solid #aaaaaa" | secondary structural level of the composition and the melismatic psalmody (I-II), or:\\
main structural level of the composition and the psalmody in the protus to the fourth (II*); otherwise\\
transitional level ascending to "la", descending to "fa";
|-
|style="border-left: 3px solid #aaaaaa" | fa
|style="border-right: 3px solid #aaaaaa" | Main structural level of the 2nd psalm tone and the protus composition to the third (II); sub-semitonal, modally important level;
|-
|style="border-left: 3px solid #aaaaaa" | mi
|style="border-right: 3px solid #aaaaaa" | weak tone step, frequent location of a quilismanote = fleeting passage from “re” to “fa”; or\\ tone step of smaller punctuation cadences;
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|style="border-left: 3px solid #aaaaaa" | RE
|style="border-right: 3px solid #aaaaaa" | FINALIS, at the same time\\ structural level, especially in the composition and the melismatic psalmody of the 2nd mode;
|-
|style="border-left: 3px solid #aaaaaa" | do
|style="border-right: 3px solid #aaaaaa" | occasionally the pitch of the inner cadences on the ‘subtonic’;
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|style="border-left: 3px solid #aaaaaa" | si
|style="border-right: 3px solid #aaaaaa" | Rare through-note from “la” to “do”; occasionally also the place of an alternate note (e.g. do⤵︎si⤴︎do⤴︎re); usually an empty note;
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|style="border-left: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" | la
|style="border-right: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" | Lower limit of the modal range; often in modal tension with “Re” (both Re⤵︎do0135la and la⤴︎do⤴︎Re), primarily in the second mode.
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|}