| Beide Seiten der vorigen RevisionVorhergehende ÜberarbeitungNächste Überarbeitung | Vorhergehende Überarbeitung |
| gr_indiv:0294 [2025/09/05 17:18] – xaverkainzbauer | gr_indiv:0294 [2026/03/17 08:41] (aktuell) – xaverkainzbauer |
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| [[cento:centologia#centones_missalis|🔘]] [[grad:0001|IN]] [[grad:0202|GR]] [[grad:0465|TR]] **<fc #BD0C11>AL</fc>** [[grad:0481|OF]] [[grad:0599|CO]] | [[cento:centologia#centones_missalis|🔘]] [[grad:0001|IN]] [[grad:0202|GR]] [[grad:0465|TR]] **<fc #BD0C11>AL</fc>** [[grad:0481|OF]] [[grad:0599|CO]] <fc #ffffff>xxxxx</fc> |
| <fc #ffffff>xxxxx</fc> | |
| [[0325|1️⃣]] [[0323|2️⃣]] [[0290|3️⃣]] ✅ [[0298|5️⃣]] [[0310|6️⃣]] [[0396|7️⃣]] [[0324|8️⃣]] | [[0325|1️⃣]] [[0323|2️⃣]] [[0290|3️⃣]] ✅ [[0298|5️⃣]] [[0310|6️⃣]] [[0396|7️⃣]] [[0324|8️⃣]] |
| <fc #ffffff>xxxxx</fc> | <fc #ffffff>xxxxx</fc> [[ant:0113|AN]] [[ant:7016|RP]] [[ant:9921|IV]] [[alia:alia|alia]] |
| [[ant:0113|AN]] [[ant:7016|RP]] [[ant:9921|IV]] [[alia:alia|alia]] | |
| ------------------ | ------------------ |
| [[0293]] ← → [[0296]] | [[0293]] ← → [[0296]] |
| Hinzu kommt noch: der Gipfelton (sa/si) ist //nicht// der feste Tonort, wie ihn die Quadratnoten von Solesmes suggerieren, sondern bloß Wechselnote. | Hinzu kommt noch: der Gipfelton (sa/si) ist //nicht// der feste Tonort, wie ihn die Quadratnoten von Solesmes suggerieren, sondern bloß Wechselnote. |
| <fc #4682b4>"DOMI-//NÚS//"</fc> Auch für diesen Wechsel vom "si" zum "sa" ("si-mi" - "sa-fa") ist Kl der Zeuge ("do" - "la"). | <fc #4682b4>"DOMI-//NÚS//"</fc> Auch für diesen Wechsel vom "si" zum "sa" ("si-mi" - "sa-fa") ist Kl der Zeuge ("do" - "la"). |
| ------- | |
| V. Gott steigt auf unter Jubel / (und) der Herr beim Schall der Posaune. | |
| |
| V. God ascends with rejoicing / (and) the Lord at the sound of the trumpet. | V. Gott steigt auf unter Jubel / (und) der Herr beim Schall der Posaune. |
| ------- | |
| | V. God ascends with rejoicing / (and) the Lord at the sound of the trumpet. |
| This AL is //the// lesson on the subject of tritone phobia. \\ | This AL is //the// lesson on the subject of tritone phobia. \\ |
| <fc #4682b4>‘Allelu-//ia//’</fc> Only MP + ZT write “sa”, Kl ‘do’. ‘si-fa’ is supposedly unsingable. Unfortunately, the melodic aesthetics of late Romanticism still have an effect here. Melodically essential here is the finalis, the firmest pitch of the 4th mode: ‘mi’. It dominates the jubilee. The first pes Sb3p with the tritone ‘si-fa’ is resolved in the second pes Sb3p by the pure fifth ‘si-mi’ and brought to a close in the third pes Sb3p ‘la-mi’.\\ | <fc #4682b4>‘Allelu-//ia//’</fc> Only MP + ZT write “sa”, Kl ‘do’. ‘si-fa’ is supposedly unsingable. Unfortunately, the melodic aesthetics of late Romanticism still have an effect here. Melodically essential here is the finalis, the firmest pitch of the 4th mode: ‘mi’. It dominates the jubilee. The first pes Sb3p with the tritone ‘si-fa’ is resolved in the second pes Sb3p by the pure fifth ‘si-mi’ and brought to a close in the third pes Sb3p ‘la-mi’.\\ |
