Notalar

Orijinal

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

Tercüme

Miserere bizim. Thomas Tallis. A capella. Kutsal, Motet. Dil. Latin.

Orijinal

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.

Tercüme

Miserere nostri bir şaşırtıcı ustaca kanon olduğunu. En belirgin iki üst sesleri arasında Canon olduğunu. 1. sayfa dibinde sözü. Boyunca aynı çizgiyi şarkı ama yarım bar dışında hangi. Bu arada, ancak, farklı ve daha az sesli kanon beş alt sesler dört arasında devam. Tüm inversiyon, aynı zamanda ancak dört farklı hızlarda ikisini aynı melodi şarkı söylemeye başlar. Bar 6 tarafından, İkinci Bas zaten yavaş şarkıcı, Birinci Bass atanan kısmının tamamını söylenen etti. Şaşırtıcı, bu şeytani bir süreç değil, sadece ama onlar bu anlaşılır, kısa parçanın çok varoluş nedeni sanki ses inandırıcı armoniler üreten işleri. Paten şekilde değil maksimum onları yakalayın için, müzik geçen ahenksizliklerin üzerinde, oldukça yavaş alınmalıdır. from the score of CPDL #6605. Orijinal anahtar. Fa majör. 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.