Unterschiede

Hier werden die Unterschiede zwischen zwei Versionen angezeigt.

--- an_indiv:1098 [2024/07/12 08:55] – xaverkainzbauer
+++ an_indiv:1098 [2024/11/24 17:09] (aktuell) – xaverkainzbauer
@@ Zeile 9: / Zeile 9: @@
 {%syn:title:ant:1098%}
-[[ant:1098|↖️]]
+[[1086]] ⟽ **[[cento_an:1typ|AN 1]]** ⟾ [[1099]]
+[[ant:1098|⏹️]] [[rp_hmr:1098|🔄]]
+-------
 {{ :ant:1098_cento_qnov.png?250|}}
@@ Zeile 34: / Zeile 38: @@
 -------
+{{ :ant:1098_cento_qnov.png?250|}}
+**[[cento_an:1inc_5pes|1INC 5Pes]]** +\\
+**[[cento_an:1med_triv|1MED triv]]**
+**[[cento_an:qnov|QNOV]]**
+[[neumen:oriscus:vrg#vrg_cad|~Vrg cad]] + a variation of\\
+**[[formulae:digit#2|FML digitus]]**\\
+**[[cento_an:qnov|QNOV]]** variation with
+[[formulae:pecl#torcl|FML TorCl]] ended.\\\
+**[[cento_an:qnov|QNOV]]** also readable as **[[cento_an:2inc_ad4|2INC ad4]]** \\
+**[[cento_an:1ter_clv|1TER clv]]**\\
+This antiphon systematically quotes the Q mode. This makes the quartal Pes the dominant interval. Gregorian melodies are characterised by the falling line from the tenor to the finalis ("la-sol-fa"). In the first line, the main accents after the incipit 5Pes are achieved by QuartPes "áudistis" "iésu".\\
+In the second line, the QuartPes of qNOV opens "fa-sa". In "damnátionem", the QuartPes is repeated on "re-sol".
 -------
 {%syn:analyse:ant:1098%}