BUKU BASA PORTUGIS KAKAIT KARO «SEMIDIAPENTE»
Temukaké kagunané saka
semidiapente ing pilihan bibliografi iki. Buku kang kakait dening
semidiapente lan pethikan cekak kang padha kanggo nyediyakaké panggunané ing sastra Basa Portugis.
1
Musica Ficta: Theories of Accidental Inflections in Vocal ...
35 'Si debbe però avertire, che alle volte si pone la Semidiapente ne i
Contrapunti in luogo della Diapente; similmente il Tritono in luogo della
Diatessaron, che fanno buoni effetti.' Ibid., pp. 169^ trans. G. A. Marco and C. V.
Palisca, p. 47.
2
A Compendium of Practical Music in Five Parts: Teaching, by ...
Tritone. i—Q-\Semidi(i. B— ) l~5JTrimt. Semidiapente. 123456 1234 ' ' Their use
in Figurate Deicant is very frequent, both in Syncopation and Note against Note,
as in Counterpoint. ' The Tritone paflès naturally into a 6th : The Semidiapente ...
Christopher Simpson, 1667
3
Vocabulario portuguez & latino ...
Etacordo menor, Semi- dtapazái.Nur.ts Trat ado das Explanaç. Semidiapente. (
Termo Musico.) He intervallo dissonante de cinco vozes, dcustonos,6í dous
femitonos mayores. Semdicptnte. ( Para evitar o Semidiapente ,que he Quinta
menor.
4
John Birchensha: Writings on Music
(Possibly Birchensha intended to write 'Semidiapente', meaning diminished fifth,
rather than 'Semidiapason'.) Butler explains the prefix 'semi-' thus: "Semidiapente
. Semi in this word (as in Semiditonus and Semidiapason) doth not signifie half ...
John Birchensha, Christopher Field, Benjamin Wardhaugh, 2010
5
The British Critic and Quarterly Theological Review
Dr. P-puseh has not made a separate class (like Simpson) in his Rales ; but the
use of the semidiapente in the resolution of the ^ (example 106, p. 168) clearly (
hews that the dominant harmony might then as nnui be taken unprepared.
6
Stephanus de Urbibus. Que Primus Thomas de Pinedo...
SEMIDIAPENTE eft duplex, major, feu intenfa, minor ftu remifla , Semidiapente
major ftu intenfa eft intervallum, quod conftat ex duobus tonis, altero minori ,
altero majori , & ex duobus ftmitoniis , altero minimo, altero majori , vel ex duobus
ton is ...
Stephanus of Byzantium, 1725
7
Dialogue on Ancient and Modern Music
The theorist considers the semidiapente as composed of two minor thirds
because it is not rationally possible to divide — always meaning by the arithmetic
discipline — any interval of the three first simple classes of proportions from the ...
8
The Style of Palestrina and the Dissonance
242): “Usaremo etiandio la Quarta sincopata, dopo la quale segua senz' alcun
mezo la Semidiapente, & dopo questa immediatamente succeda la Terza
maggiore; percioche la Semidiapente e posta in tal maniera, che fa buono effetto
—”.2 So ...
9
The British Critic: A New Review
Dr. Pepusch has not made a separate class (like Simpson) in his Rules ; but the
use of the semidiapente in the resolution of the * (example 106, p. 168) clearly (
hews that the dominant harmony inight then as ntiv be taken unprepared.
10
Encyclopaedia metropolitana
If the Music be of three parts, the accompaniment must be a third or a
semidiapente. If of four parts, the third and semidiapente or flat filth must be taken
with it. A Q-G-A A b 7 “ be b its Wilts b7 bah Our next duty, having explained the
use of the ...
