Unterschiede

Hier werden die Unterschiede zwischen zwei Versionen angezeigt.

--- cento_rp:tr [2025/07/22 21:30] – xaverkainzbauer
+++ cento_rp:tr [2025/07/22 22:20] (aktuell) – xaverkainzbauer
@@ Zeile 29: / Zeile 29: @@
 |-
 |style="border-left: 3px solid #aaaaaa" | FA
-|style="border-right: 3px solid #aaaaaa" | Finalis, zugleich: Hauptstrukturstufe der Komposition im VI. Modus und der melismatischen Psalmodie (VI);˜˜
+|style="border-right: 3px solid #aaaaaa" | FINALIS, zugleich: Hauptstrukturstufe der Komposition im VI. Modus und der melismatischen Psalmodie (VI);˜˜
 subsemitonale , modal wichtige Tonstufe;
 |-
@@ Zeile 44: / Zeile 44: @@
 |}
-Der 5. Modus ist 'F-Dur mit h!'. Das macht seinen Reiz aus. Daraus resultiert eine starke Tendenz zum Tritonus. Die Tritonus-Phobie des Hochmittelalters hat sehr früh 'F-Dur mit h' zum bloßen F-Dur eingeebnet. Unter diastematischen Quellen gibt nur Ka mit seinem "do" (do-Revision) einen Hinweis auf das ursprüngliche "si".
+Der 5. Modus ist 'F-Dur mit h!'. Das macht seinen Reiz aus. Daraus resultiert eine starke Tendenz zum Tritonus. Die Tritonus-Phobie des Hochmittelalters hat sehr früh 'F-Dur mit h' zum bloßen F-Dur eingeebnet. Unter diastematischen Quellen gibt nur Ka mit seinem "do" (do-Revision) einen Hinweis auf das ursprüngliche "si". \\
+Der 6. Modus hat immer b. Sein Tonraum ist die große Terz Fa-la und der Quart-Unterschwung Fa-do-Fa.
+–––––––––––––––––––––––––––––––––––––––––––––––––––––––
+[[cento:centologia |🔘]]  according to Agustoni 1987
+{| style="width: 100%;"
+|style="width:60px; border-left: 3px solid #aaaaaa; border-top: 3px solid #aaaaaa" | mi/fa
+|style="width:840px; border-top: 3px solid #aaaaaa; border-right: 3px solid #aaaaaa" | upper limit of the modal range (as fa is the sub-semitonal, modally important step, it often pulls the melody towards itself);
+|-
+|style="border-left: 3px solid #aaaaaa" | re
+|style="border-right: 3px solid #aaaaaa" | passage step in tritus composition
+|-
+|style="border-left: 3px solid #aaaaaa" | do
+|style="border-right: 3px solid #aaaaaa" | Main structural pitch of the 5th psalm tone and the tritus composition to the fifth (V);\\
+subsemitonal, modally important pitch.
+|-
+|style="border-left: 3px solid #aaaaaa" | si
+|style="border-right: 3px solid #aaaaaa" | **h** in relation to //do//,\\
+**b** in relation to //la// or lower pitches; \\
+rarely as a recitation step (in this case, sib generally appears as a transposition of fa;
+e.g. do ︎ fa = fa ︎ sib);\\
+<fc #008000>if recitation step, then b as transposition of the pitch range "do-fa" a fourth higher to "fa-b".</fc>
+|-
+|style="border-left: 3px solid #aaaaaa" | la
+|style="border-right: 3px solid #aaaaaa" | Recitation stage of the 6th psalm tone, structural stage of the plagal trital composition; somewhat less important structural stage of the authentic trital composition, if it has a modal predominance of //Fa//; (indication of archaic origin: primal mode //DO//);
+|-
+|style="border-left: 3px solid #aaaaaa" | sol
+|style="border-right: 3px solid #aaaaaa" | Through step, occasionally modal contra step.
+|-
+|style="border-left: 3px solid #aaaaaa" | FA
+|style="border-right: 3px solid #aaaaaa" | FINALIS, at the same time: main structural level of the composition in the VIth mode and the melismatic psalmody (VI);˜˜
+subsemitonal, modally important pitch level;
+|-
+|style="border-left: 3px solid #aaaaaa" | mi
+|style="border-right: 3px solid #aaaaaa" | not present immediately before the cadence on //Fa//; but present in the course of the melody and necessary to distinguish the tritus from the tetrardus.
+|-
+|style="border-left: 3px solid #aaaaaa" | re
+|style="border-right: 3px solid #aaaaaa" | Tone step for playing around //Fa// or preparing the cadence step //do//;
+|-
+|style="border-left: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" | do
+|style="border-right: 3px solid #aaaaaa; border-bottom: 3px solid #aaaaaa" |Internal cadential level, lower limit of the modal range;
+|-
+|}
+The 5th mode is 'F major with b! That is what makes it so attractive. This results in a strong tendency towards the tritone. The tritone phobia of the High Middle Ages leveled ‘F major with b’ to mere F major very early on. Among diastematic sources, only Ka with its ‘do’ (do revision) gives an indication of the original ‘si’.
+The 6th mode always has b-flat. Its tonal space is the major third Fa-la and the fourth undercurrent Fa-do-Fa.
-Der 6. Modus