Unterschiede
Hier werden die Unterschiede zwischen zwei Versionen angezeigt.
| Beide Seiten der vorigen RevisionVorhergehende Überarbeitung | |
| gr_indiv:0384 [2026/04/02 11:02] – xaverkainzbauer | gr_indiv:0384 [2026/04/02 11:03] (aktuell) – xaverkainzbauer |
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| **<fc #ff0000>SI - SA</fc>** ‘Allelu-//ia//’ Kl writes ‘sa’, yet ‘si’ is not only conceivable but probable. Before the tritone ‘fa’ is reached, the ‘si’ relates to ‘la’ and “sol”. Likewise, the perfect fifth ‘si-mi’ is predominant. In general, the ‘mi’ level is strongly present in this AL of the 1st mode (‘Mirabi-//lis//’). Despite Zt and Kl, there is no reason to sing “sa”.\\ | **<fc #ff0000>SI - SA</fc>** ‘Allelu-//ia//’ Kl writes ‘sa’, yet ‘si’ is not only conceivable but probable. Before the tritone ‘fa’ is reached, the ‘si’ relates to ‘la’ and “sol”. Likewise, the perfect fifth ‘si-mi’ is predominant. In general, the ‘mi’ level is strongly present in this AL of the 1st mode (‘Mirabi-//lis//’). Despite Zt and Kl, there is no reason to sing “sa”.\\ |
| The Repetenda uses the entire Iubilus. The short verse alludes twice to formulas of the Iubilus: ‘Mirabi-//lis do//-minus’. Note the ScaFlex... movement “mi-sol-la-sol...” of the Iubilus, which is shortened in the verse through liquefaction to ScaFlx (“//do//-minus”). | The Repetenda uses the entire Iubilus. The short verse alludes twice to formulas of the Iubilus: ‘Mirabi-//lis do//-minus’. Note the ScaFlex... movement “mi-sol-la-sol...” of the Iubilus, which is shortened in the verse through liquescence to ScaFlx (“//do//-minus”). |
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| {%syn:analyse:grad:0384%} | {%syn:analyse:grad:0384%} |
