6 is an enharmonic
spelling of G[flat]), which echoes the I-IV progression in A[flat] major that begins the piece.
Clothed notables included Charles Olson on the cover of Niagara Frontier Review, 1964, lecturing at a blackboard where a chalked spiral spins out the words EMBODIMENT and ENHARMONIC
, and an album called Dial-a-Poem Poets: Totally Corrupt, 1972, whose cover places Waldman, Giorno, Allen Ginsberg, and Robert Creeley around a boardroom table with William S.
Waldrep's third collection of poems, Archicembalo, borrows its title from an esoteric enharmonic
keyboard that has as many as sixty keys per octave.
Marchetto further provoked Prosdocimo's ire by applying traditional terms such as enharmonic
, chromatic, and diatonic in unconventional ways to his newly defined intervals.
Possent" in this case refers to the subject of Bacon's previous discussion about enharmonic
music (enharmonicus) and its many layers (multos gradus).
And even if it's still not so easy to restage Satie's monumental Vexations (though a 1983 Alan Marks recording manages a restrained 40 repetitions at 70 minutes), one can still catch a sense of his enharmonic
equivalents while listening to those final two words silently repeating themselves on your lips--"immobilites serieuses," modern music's Faustian bedtime story.
The software has the ability to create separate linked parts from a divisi staff in the score or to show different enharmonic
spellings between the part and score.
If you don't establish your enharmonic
home--this is how I put things together--then you don't create a value system and the subliminal emotional communication between you and your audience.
The tone that provides the chromatic enticement, although enharmonic
These absurdities (from today's point of view) were removed, but this sometimes caused displeasure, as did enharmonic
changes of individual notes and sometimes whole passages from double flat or double sharp to simpler notated form (obviously sounding exactly the same).
These measures clearly demonstrate that the focus of the movement is the alternation between G[MUSICAL NOTES NOT REPRODUCIBLE IN ASCII] Lydian and A[MUSICAL NOTES NOT REPRODUCIBLE IN ASCII] Phrygian, and the enharmonic
equivalence between D[MUSICAL NOTES NOT REPRODUCIBLE IN ASCII] and E[MUSICAL NOTES NOT REPRODUCIBLE IN ASCII].
Raymond Dittrich sketches the background in the two preceding centuries, including a useful look at Vicentino's enharmonic
madrigals (the tuning for which takes the reader into the territory of the later volume).