Notis

Oriģināls

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

Tulkojums

Miserere mūsu. Thomas Tallis. Cappella. Sacred, Motet. Valoda. Latin.

Oriģināls

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.

Tulkojums

Miserere Nostri ir apbrīnojami ģeniāls canon. Pašsaprotama ir kanons starp divām top balsis. minēts pie pamatnes 1. lappuses. , Kas dzied vienu un to pašu līniju visā bet puse bar intervālu. Tikmēr, tomēr atšķirīgs un mazāk dzirdamu kanons ir progress starp četrām no piecām zemāku balsis. visi sākt dziedāt vienu un to pašu melodiju, tajā pašā laikā, bet pēc četrām ar dažādu ātrumu, divi no tiem, kas inversijas. Ar bar 6, Otrā Bass jau dziedājis visu daļu piešķirto vislēnāko dziedātāja, Pirmā Bass. Pārsteidzoši, šis velnišķīgs process ne tikai strādā, bet arī dod pārliecinošus harmonijas, kas skaņu kā tad, ja tie ir ļoti jēga no šīs saprotams īso gabalu. Baudīt tos maksimāli, mūzika jāņem diezgan lēni, tā, lai slidot pāri iet dissonances. from the score of CPDL #6605. Sākotnējā atslēgu. F Galvenais. 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.