Spartiti

Originale

Miserere nostri. Thomas Tallis. A cappella. Sacred , Motet. Language. Latin.

Traduzione

Miserere nostri. Thomas Tallis. A Cappella. Sacred, Mottetto. Lingua. Latin.

Originale

Miserere nostri is an astoundingly ingenious canon. Most obvious is the canon between the two top voices. mentioned at the foot of page 1. , which sing the same line throughout but half a bar apart. Meanwhile, however, a different and less audible canon is in progress between four of the five lower voices. all start singing the same melody at the same time but at four different speeds, two of them in inversion. By bar 6, the Second Bass has already sung the whole of the part assigned to the slowest singer, the First Bass. Amazingly, this fiendish process not only works but produces convincing harmonies which sound as if they are the very raison d’être of this understandably short piece. To enjoy them to the maximum, the music should be taken fairly slowly, so as not to skate over the passing dissonances. from the score of CPDL #6605. Original key. F major. Pitch in 16th century England was likely very high and this key is probably closer to the actual performance pitch. This likely earlier work was probably part of a full setting of the Psalm, but this section is all that remains of this setting. It demonstrates surprising rhythmic complexity. Note values and barring have been adjusted for modern notation. It is particularly important in this antiphon to sing through the barlines, allowing the rhythmic and natural accent of the text to guide phrasing.

Traduzione

Miserere nostri è un canonico incredibilmente geniale. Più evidente è il canone tra i due migliori voci. menzionato al piede della pagina 1. , Che cantano la stessa linea per tutto, ma la metà di un bar a parte. Nel frattempo, però, un diverso e meno udibile canone è in corso tra quattro dei cinque voci inferiori. tutti cominciano a cantare la stessa melodia, allo stesso tempo, ma a quattro velocità differenti, due di loro in inversione. Con bar 6, la seconda Bass ha già cantato tutta la parte assegnata al cantante lento, il primo basso. Sorprendentemente, questo processo diabolico non solo funziona, ma produce armonie convincenti che il suono come se fossero la stessa ragion d'essere di questo comprensibilmente breve pezzo. Per godere loro al massimo, la musica dovrebbe essere presa abbastanza lentamente per non pattinare sulle dissonanze di passaggio. from the score of CPDL #6605. Chiave originale. F major. Pitch in 16th century England was likely very high and this key is probably closer to the actual performance pitch. This likely earlier work was probably part of a full setting of the Psalm, but this section is all that remains of this setting. It demonstrates surprising rhythmic complexity. Note values and barring have been adjusted for modern notation. It is particularly important in this antiphon to sing through the barlines, allowing the rhythmic and natural accent of the text to guide phrasing.