Unterschiede
Hier werden die Unterschiede zwischen zwei Versionen angezeigt.
| Beide Seiten der vorigen RevisionVorhergehende Überarbeitung | |
| an_indiv:0587 [2026/06/22 08:58] – xaverkainzbauer | an_indiv:0587 [2026/06/22 08:58] (aktuell) – xaverkainzbauer |
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| **[[cento_an:qnov|QNOV]]**\\ | **[[cento_an:qnov|QNOV]]**\\ |
| **[[cento_an:qter|QTER]]** The variation of this cento approaches the [[cento_an:2ter_typ|2TER typ]]: Fourth fall and rise over the major third, arguing for "si" in protus to fourth. "**pro nó**-bis" is thus emphasised. Ka notates a "do" at "//no//bis", so there is originally an "si" here. This does not suit the more recent tradition. And because "do-sol-sa" is practically impossible to sing, the "sol" is changed to "la" (Fo + AMn). Tol+Bv, however, clearly notate "sol". Fo is so convinced of si-be-molle that, although the note does not appear in his melody, he adds an extra letter "b".\\ | **[[cento_an:qter|QTER]]** The variation of this cento approaches the [[cento_an:2ter_typ|2TER typ]]: Fourth fall and rise over the major third, arguing for "si" in protus to fourth. "**pro nó**-bis" is thus emphasised. Ka notates a "do" at "//no//bis", so there is originally an "si" here. This does not suit the more recent tradition. And because "do-sol-sa" is practically impossible to sing, the "sol" is changed to "la" (Fo + AMn). Tol+Bv, however, clearly notate "sol". Fo is so convinced of si-be-molle that, although the note does not appear in his melody, he adds an extra letter "b".\\ |
| 🔴 Here, the <fc #ff0000>si-be-molle</fc> () in **Typos Q** is obviously a more recent interpretation. The authentic melody uses <fc #ff0000>"si"</fc> (si-be-durum). | 🔴 Here, the <fc #ff0000>si-be-molle</fc> () in **Typos Q** is obviously a more recent interpretation. The authentic melody uses <fc #ff0000>//si//</fc> (si-be-durum). |
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| {%syn:analyse:ant:0587%} | {%syn:analyse:ant:0587%} |
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