331:
63:
173:
22:
372:
197:
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
338:
62:
316:
308:
311:
composers of the
Renaissance, and can even be found as late as the
189:
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:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.