Spartiti

Originale

Non vos relinquam Orphanos. I will not leave you Comfortless. Charles H. Giffen. a cappella. Sacred , Motet. Languages. Latin , English.

Traduzione

Non vos relinquam Orphanos. I will not leave you Comfortless. Charles H. Giffen. a cappella. Sacred, Mottetto. Lingue. Latino, Inglese.

Originale

This work is composed in the octatonic scale mode in which B, D, F, and G-sharp are removed from the chromatic scale, and hence the scale consists of alternating whole and half steps. Although essentially tonal, the octatonic mode will seem somewhat unusual to many. Note that, musically, measures 1-8 appear in strict inversion as measures 9-16 – the first five measures set verse 1 in the top two voices, followed by a four-part "Alleluia, alleluia". and in the inversion, the first five measures set verse 2 in the bottom two voices. After the inverted four-part "Alleluia, alleluia", verse 3 is set to the music of measures 1-5, transposed down an octave, and of measures 9-13, transposed up an octave, combined to form a strict double canon by inversion delayed by two measures, beginning at measure 17. Measures 17–21 " Et gaudebit cor vestrum ". double canon by inversion. \\. s1 s1 s1 s1 g,4. fis e fis e dis. fis. e1 fis2 e4. fis2 g2. r4 a2. \new Staff. \clef bass \time 4. 2 a,4. bes c bes c des. bes. c1 bes2 c4. bes2 a2. r4 g2 a g2. r4 a4. bes1 a2. r4. \set Staff. midiInstrument #"string ensemble 2". \\. s1 s1 a4. bes a g fis e. dis. dis2 cis1 bis4. ais. bis2 cis2. r4 e2 dis1 e2. r4. The style of this motet is intended to evoke both chant and early polyphony, albeit in modern terms. It is appropriate for Easter 6 , Ascension , Easter 7 or Pentecost. – Charles H. Giffen.

Traduzione

This work is composed in the octatonic scale mode in which B, D, F, and G-sharp are removed from the chromatic scale, and hence the scale consists of alternating whole and half steps. Although essentially tonal, the octatonic mode will seem somewhat unusual to many. Note that, musically, measures 1-8 appear in strict inversion as measures 9-16 – the first five measures set verse 1 in the top two voices, followed by a four-part "Alleluia, alleluia". and in the inversion, the first five measures set verse 2 in the bottom two voices. After the inverted four-part "Alleluia, alleluia", verse 3 is set to the music of measures 1-5, transposed down an octave, and of measures 9-13, transposed up an octave, combined to form a strict double canon by inversion delayed by two measures, beginning at measure 17. Measures 17–21 " Et gaudebit cor vestrum ". double canon by inversion. \\. s1 s1 s1 s1 g,4. fis e fis e dis. fis. e1 fis2 e4. fis2 g2. r4 a2. \ Nuovo personale. \clef bass \time 4. 2 a,4. bes c bes c des. bes. c1 bes2 c4. bes2 a2. r4 g2 a g2. r4 a4. bes1 a2. r4. \ Set Staff. midiInstrument # "stringa insieme 2". \\. s1 s1 a4. bes a g fis e. dire. dis2 cis1 bis4. ais. bis2 cis2. r4 e2 dis1 e2. r4. The style of this motet is intended to evoke both chant and early polyphony, albeit in modern terms. It is appropriate for Easter 6 , Ascension , Easter 7 or Pentecost. – Charles H. Giffen.