The Latin word " ambitus " is the origin of the English word " ambition, " which is another of its original meanings; " ambitus " was the process of " going around and commending oneself or one's prot�g�s to the people, " an activity liable to unethical excesses.
42.
Thus, being within the melos also different echoi and their ambitus had been separated, because an f or b flat as the octave of the tritos melos ( B flat b flat, F f ) had to become an f sharp or b natural within the octave of the diatonic tetartos melos ( C c, G g ).
43.
The ambitus of this mode extended one tone lower, to D . The sixth degree, C, which is the tenor of the corresponding third psalm tone, was regarded by most theorists as the most important note after the final, though the fifteenth-century theorist Johannes Tinctoris implied that the fourth degree, A, could be so regarded instead.
44.
The rhetorical tactics of Cicero's speeches demonstrate how an initial charge of " ambitus ", under whatever statute, might devolve into an occasion for impugning or humiliating a public figure . nobilitas " by another not in possession of such standing appears to have been sufficient grounds for initiating a charge of " ambitus " ."
45.
The rhetorical tactics of Cicero's speeches demonstrate how an initial charge of " ambitus ", under whatever statute, might devolve into an occasion for impugning or humiliating a public figure . nobilitas " by another not in possession of such standing appears to have been sufficient grounds for initiating a charge of " ambitus " ."
46.
Earlier writers termed the modal ambitus " perfect " when it was a ninth or tenth ( that is, an octave plus one or two notes, either at the top or bottom or both ), but from the late fifteenth century onward " perfect ambitus " usually meant one octave, and the ambitus was called " imperfect " when it was less, and " pluperfect " when it was more than an octave.
47.
Earlier writers termed the modal ambitus " perfect " when it was a ninth or tenth ( that is, an octave plus one or two notes, either at the top or bottom or both ), but from the late fifteenth century onward " perfect ambitus " usually meant one octave, and the ambitus was called " imperfect " when it was less, and " pluperfect " when it was more than an octave.
48.
Earlier writers termed the modal ambitus " perfect " when it was a ninth or tenth ( that is, an octave plus one or two notes, either at the top or bottom or both ), but from the late fifteenth century onward " perfect ambitus " usually meant one octave, and the ambitus was called " imperfect " when it was less, and " pluperfect " when it was more than an octave.
49.
The ambitus of the mode lies between F and the F an octave higher, divided at the final, B . Its reciting tone ( or tenor ), is E, and its mediant is D . It has two participants, G and C . Although a few plainchant melodies, as well as polyphonic compositions, have been attributed to this mode by some writers, it will generally be found that they are really derived, by transposition, from some other tonality.
50.
According to the Latin synthesis the ambitus as in the Hagiopolitan Octoechos, but authentic and plagal tones used both the " finalis " of the " plagios ", so that the " finalis " of the " kyrios ", the fifth degree of the mode, was no longer used as " finalis ", but as " repercussa " : the recitation tone used in a simple form of psalmody which was another genuine invention by the Carolingian reformers.
