シートミュージック

原文

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

翻訳

ミゼレーレたち. トマス·タリス. A cappella. 聖なる、モテット. 言語. Latin.

原文

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.

翻訳

ミゼレーレnostriは驚くほど独創的なカノンです. 最も明白な2トップの声の間でカノンです. ページ1のふもとに言及. 、半分バー離れて全体で同じラインを歌うが、その. 一方、しかし、別の少ない音キヤノンは5低い声の4の間で進行中である. 全て反転に、同時にしかしつの異なる速度でそれらのうちの2つを同一のメロディを歌って開始. バー6により、第2のベースはすでに最も遅い歌手、まずベースに割り当てられた部分の全体を歌っている. 驚くべきことに、この悪魔のようなプロセスは、だけでなく、彼らはこの当然の短い作品の非常に存在意義であるかのように音説得力のあるハーモニーを生成作品. スケートしないように最大限にそれらを楽しむために、音楽が渡し不協和音の上に、かなりゆっくりと注意が必要です. from the score of CPDL #6605. 元のキー. ヘ長調. 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.