Partitures

Original

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

Traducció

Miserere nostra. Thomas Tallis. A capella. Sagrat, Motet. Idioma. Latin.

Original

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.

Traducció

Miserere nostri és una increïblement enginyosa cànon. El més obvi és el cànon entre els dos millors veus. esmentat al peu de pàgina 1. , Que canten la mateixa línia en tot, però la meitat d'un bar a part. Mentrestant, però, un cànon diferent i menys audible està en curs entre quatre dels cinc veus inferiors. tots comencen a cantar la mateixa melodia al mateix temps, però a quatre velocitats diferents, dos d'ells a la inversió. Per bar 6, la Segona Bass ja ha cantat la totalitat de la part assignada a la cantant més lent, la Primera Bass. Sorprenentment, aquest procés diabòlic no només funciona sinó que produeix harmonies convincents que sonen com si són la raó de ser d'aquesta comprensiblement peça curta. Per gaudir al màxim, la música ha de ser pres amb força lentitud, per no patinar sobre les dissonàncies que passen. from the score of CPDL #6605. Clau original. Fa 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.