例句與造句

1. The tetraphonic parallage is written outside and just shows the pentachord of protos in the circle on the left top and here its " parallage " was only written in clockwise direction ( see the way marked by the arrows ).
2. The beginning of this section emphasizes the tetraphonic melos of the diatonic echos varys, its characteristic is the tritone above the finalis within the tritos pentachord F, and the word " ?????????? " has the cadence formula of & ??? ?????.
3. For the devteros circle ( on the right top ) the tetraphonic parallage even creates the augmented octave between echos devteros ( b natural ) and echos varys ( B flat ) as " heptaphonia of the devteros echos " ( ???????? ??? ???????? ).
4. Usually the disposition was simple and did not change by the use of transposition, but some more complex " stichera " did as well and the tetraphonic system allowed always a new disposition between " plagios " and " kyrios " of a certain echos.
5. Nevertheless, the " diapason system " ( see table ) had also changed the former tetraphonic disposition of the " echoi " according to the " trochos system ", which organised the final notes of each kyrios-plagios pair in a pentachord which had always been a pure fifth.
6. It's difficult to find tetraphonic in a sentence. 用tetraphonic造句挺難的
7. The triphonic solf鑗e could be solved again from the enharmonic into the diatonic genus, but it was in fact not just a change of the genus (, " metavole kata genos " ), but also a change from the triphonic into the tetraphonic tone system (, " metavole kata systema " ).
8. "Parallage of John Koukouzeles " : The four peripheral wheels for the Octoechos ( top left : protos echoi; top right : devteros echoi; bottom left : tritos echoi; bottom right : tetartos echoi ) and the tetraphonic tone system and its transpositions in the center Koukouzelian wheel in an 18th-century manuscript ( manuscript of the private collection by Demetrios Kontogiorges)
9. Within the tetraphonic " parallage, " singers will always find a diminished tritone on a slightly low intoned b natural, whenever they ascends three steps up from the " tritos " on F . Only the " triphonic system " finds again the tritos at a " phthongos " within the pure fourth of a tetrachord, which must be b flat.
10. The 19th-century reform according to the New Method of Chrysanthos of Madytos replaced the former solfeggio or " metrophonia " based on the tetraphonic use of the " enechemata " which referred to the eight modes of the Octoechos by an heptaphonic and monosyllabic solfeggio of just seven syllables ??, ??, ??, ???, ??, ??, and ?? not unlike the Western solfeggio ( Si, Do, Re, Mi, Fa, Sol, and La ).
11. The treatise form usually served as a bridge between the Commemoratio brevis de tonis et psalmis modulandis ", which used the Dasia-signs of the " Musica enchiriadis " treatise ( 9th century ) in order to transcribe the melodic endings or terminations of psalmody . 11th-century theorists like Guido of Arezzo ( " Regulae rhythmicae " ) or Hermann of Reichenau ( " Musica " ) refused the Dasia tone system, because it displayed tetraphonic tone system and not the systema teleion ( corresponding to the white keys of the keyboard ) which had all the pitches needed for the " melos of the echoi " ( " ex sonorum copulatione " in " Musica enchiriadis ", " emmelis sonorum " in the compilation " alia musica " ).