Bladmuziek

Oorspronkelijk

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

Vertaling

Miserere onze. Thomas Tallis. A cappella. Heilig, Motet. Taal. Latin.

Oorspronkelijk

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.

Vertaling

Miserere nostri is een verbluffend ingenieuze canon. Meest voor de hand liggende is de canon tussen de twee bovenste stemmen. aan de voet van de pagina 1 genoemde. , Die dezelfde lijn zingen gedurende maar een halve bar uit elkaar. Ondertussen echter een andere en minder hoorbaar kanon wordt uitgevoerd tussen vier van de vijf onderste stemmen. beginnen dezelfde melodie zingen tegelijkertijd maar op vier verschillende snelheden, twee in inversie. Door bar 6, heeft de tweede Bass reeds gezongen het gehele deel toegewezen aan de langzaamste zanger, de eerste Bass. Verbazingwekkend, deze duivelse proces niet alleen werkt, maar produceert overtuigende harmonieën die klinken alsof ze zijn de bestaansreden van deze begrijpelijkerwijs korte stuk. Om ze genieten met maximum dient de muziek vrij langzaam worden genomen om niet schaatsen via passerende dissonanties. from the score of CPDL #6605. Originele sleutel. 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.