Partituras

Original

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

Tradução

Miserere nuestra. Thomas Tallis. A capella. Sagrado, Motete. 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.

Tradução

Miserere nostri es una increíblemente ingeniosa canon. El más obvio es el canon entre los dos mejores voces. mencionado en el pie de página 1. , Que cantan la misma línea en todo, pero la mitad de un bar aparte. Mientras tanto, sin embargo, un canon diferente y menos audible está en curso entre cuatro de los cinco voces inferiores. todos empiezan a cantar la misma melodía al mismo tiempo, pero a cuatro velocidades diferentes, dos de ellos en la inversión. Por bar 6, la Segunda Bass ya ha cantado la totalidad de la parte asignada a la cantante más lento, la Primera Bass. Sorprendentemente, este proceso diabólico no sólo funciona sino que produce armonías convincentes que suenan como si son la razón de ser de esta comprensiblemente pieza corta. Para disfrutarlos al máximo, la música debe ser tomado con bastante lentitud, para no patinar sobre las disonancias que pasan. from the score of CPDL #6605. Clave original. Fa mayor. 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.