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of the topic and provide significant coverage of it beyond a mere trivial mention. If notability cannot be shown, the article is likely to be
319:. In that case, it was used in the 'Fuga canonica in epidiapente' to indicate that the second (unwritten) voice was to enter a fifth higher. 286: 268: 154: 49: 194: 365: 88: 249: 135: 190: 221: 107: 84: 35: 206: 396: 73: 358: 228: 114: 330: 92: 77: 235: 121: 391: 183: 217: 103: 202: 198: 342: 312: 41: 242: 128: 300: 385: 307:
indicated an interval a perfect fifth higher. This meaning was also used by western
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composers of the Renaissance, and can even be found as late as the
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Please help to demonstrate the notability of the topic by citing
166: 56: 15: 346: 366: 8: 91:. Unsourced material may be challenged and 50:Learn how and when to remove these messages 373: 359: 287:Learn how and when to remove this message 269:Learn how and when to remove this message 155:Learn how and when to remove this message 7: 327: 325: 89:adding citations to reliable sources 345:. You can help Knowledge (XXG) by 14: 31:This article has multiple issues. 329: 171: 61: 20: 182:may not meet Knowledge (XXG)'s 39:or discuss these issues on the 1: 303:musical terminology the term 184:general notability guideline 413: 324: 191:reliable secondary sources 180:The topic of this article 85:improve this article 397:Music theory stubs 186: 354: 353: 297: 296: 289: 279: 278: 271: 253: 181: 165: 164: 157: 139: 54: 404: 375: 368: 361: 333: 326: 313:Musical Offering 292: 285: 274: 267: 263: 260: 254: 252: 211: 175: 174: 167: 160: 153: 149: 146: 140: 138: 97: 65: 57: 46: 24: 23: 16: 412: 411: 407: 406: 405: 403: 402: 401: 382: 381: 380: 379: 322: 293: 282: 281: 280: 275: 264: 258: 255: 212: 210: 188: 176: 172: 161: 150: 144: 141: 98: 96: 82: 66: 25: 21: 12: 11: 5: 410: 408: 400: 399: 394: 392:Fifths (music) 384: 383: 378: 377: 370: 363: 355: 352: 351: 334: 295: 294: 277: 276: 179: 177: 170: 163: 162: 69: 67: 60: 55: 29: 28: 26: 19: 13: 10: 9: 6: 4: 3: 2: 409: 398: 395: 393: 390: 389: 387: 376: 371: 369: 364: 362: 357: 356: 350: 348: 344: 341:article is a 340: 335: 332: 328: 323: 320: 318: 314: 310: 306: 302: 291: 288: 273: 270: 262: 251: 248: 244: 241: 237: 234: 230: 227: 223: 220: –  219: 218:"Epidiapente" 215: 214:Find sources: 208: 204: 200: 196: 192: 185: 178: 169: 168: 159: 156: 148: 137: 134: 130: 127: 123: 120: 116: 113: 109: 106: –  105: 104:"Epidiapente" 101: 100:Find sources: 94: 90: 86: 80: 79: 75: 70:This article 68: 64: 59: 58: 53: 51: 44: 43: 38: 37: 32: 27: 18: 17: 347:expanding it 339:music theory 336: 321: 304: 298: 283: 265: 256: 246: 239: 232: 225: 213: 151: 142: 132: 125: 118: 111: 99: 83:Please help 71: 47: 40: 34: 33:Please help 30: 305:epidiapente 299:In ancient 195:independent 386:Categories 259:April 2015 229:newspapers 203:redirected 145:April 2015 115:newspapers 36:improve it 317:J.S. Bach 193:that are 72:does not 42:talk page 309:European 243:scholar 207:deleted 129:scholar 93:removed 78:sources 245:  238:  231:  224:  216:  199:merged 131:  124:  117:  110:  102:  337:This 301:Greek 250:JSTOR 236:books 205:, or 136:JSTOR 122:books 343:stub 222:news 108:news 76:any 74:cite 315:of 87:by 388:: 201:, 45:. 374:e 367:t 360:v 349:. 290:) 284:( 272:) 266:( 261:) 257:( 247:· 240:· 233:· 226:· 209:. 187:. 158:) 152:( 147:) 143:( 133:· 126:· 119:· 112:· 95:. 81:. 52:) 48:(

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