Each mode is distinguished by its final, dominant, and ambitus.

The ambitus of this mode extended one tone lower, to D.

In both cases, the strict ambitus of the mode is one octave.

All of the church modes are distinguished in part by their ambitus .

The point is perhaps that ambitus could be construed as treason under some circumstances.

Ambrosian chants are more varied in length, ambitus, and structure.

Competition for the praetorship became fierce, and campaign corruption (ambitus) virulent.

In revenge, he brought an accusation of ambitus against the censor Antonius.

In practice, bringing a charge of ambitus against a public figure became a favored tactic for undermining a political opponent.

Even relatively florid chants like Alleluias may have a narrow ambitus.

In Gregorian chant specifically, the ambitus is the range, or the distance between the highest and lowest note.

Different chants vary widely in their ambitus.

Baebius spearheaded legislation to crack down on ambitus.

Note that the ambitus is only a fourth in the latter but a Minor seventh in the former Variation.

He was subsequently accused of ambitus, or bribery, and although defended by Cicero, was convicted.

The melodic motion is primarily stepwise, with a limited ambitus, giving the chants a smooth, undulating feel.

The offence of ambitus was a matter which belonged to the judicia publica, and the enactments against it were numerous.

Baebius is credited with reform legislation pertaining to campaigns for political offices and electoral bribery (ambitus).

The word ambitus for electoral corruption is a general term for the crime; defendants would have been charged under a specific statute (lex).

The object of the law was to check ambitio, the name for going about to canvass, in place of which ambitus was subsequently employed.

The Alleluia for Christmas Eve, for instance, has an ambitus of only a perfect fifth, but this example is rather extreme.

Stühlmeyer demonstrated that Hildegard's tone language and the ambitus, spanning up to two octaves, both meet professional, compositional standards of the 12th century.

The plagal modes have the final in the middle of the ambitus, while the authentic modes generally go no more than one note below the final.

Voice exchange gradually died out after 1300, due to the gradual separation of voice ranges and the expansion of the ambitus of a composition.

The six-string viola d'amore and the treble viol also have approximately the same ambitus or range of playable notes.