Amor, ch'a nullo amato amar perdona,
mi prese del costui piacer s? forte,
che, come vedi, ancor non m'abbandona.
--
Love, which absolves no beloved one from loving, seized me so strongly with his charm that, as thou seest, it does not leave me yet.
--
Canto V, lines 103-105.Dante Alighieri
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Amor, ch'al cor gentil ratto s'apprende,
prese costui de la bella persona
che mi fu tolta; e 'l modo ancor m'offende.Dante Alighieri
Forse, se tu gustassi anco una volta
La millesima parte de la gioie
Che gusta un cor amato riamando,
Diresti, ripentita, sospirando:
Perduto ? tutto il tempo
Che in amar non si spende.Torquato Tasso
Do we really have to look these chords up in Forte's catalog in order to find a name for them? Another theorist [Christopher Hasty] assures us that, 'Allen Forte's perceptive interpretation...accounts for an essential quality of this mysteriously pulsating music. The eigth-note chords of the flute and clarinets form alternately, with the sustaining oboes and horns, the six-tone sonorities labeled A and B. The sonorities A and B are both representatives of the same set class (6-Z19) and are thus made up of precisely the same intervals. As Forte points out, "There is a flucuation of pitch-class content while interval content remains constant."' 'A flucuation of pitch-class content while interval content remains constant' is what the rest of us have always known as 'a transposition.'
George Perle
Njeriu me vedi bishė mbet e s'ndrohet, nė dėm tė tjetrit rron dhe gėzohet.
Aleksander Stavre Drenova
Un litigante ? di vincer si ingordo,
Che non d? a se, o altrui pace o riposo,
Ma ad ogni altro piacer ? cieco e sordo.Pietro Nelli
Alighieri, Dante
Alinsky, Saul
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