악보

원본

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

번역

Miserere 우리. 토마스 탈리스. A cappella. 신성한, 모테트. 언어. Latin.

원본

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.

번역

Miserere nostri은 놀랄만큼 독창적 인 캐논이다. 가장 눈에 띄는 두 개의 상단 음색 간의 정경입니다. 페이지 1의 발에 언급. 에 걸쳐 같은 줄을 노래하지만 반 바 떨어져을하는. 한편, 그러나, 다른 적은 가청 캐논 다섯 낮은 목소리 네 사이 진행중. 반전 모두에서 동시에 네하지​​만 다른 속도로 그 둘을 동일한 멜로디 노래 시작. 바 (6)에 의해 제 2 차베이스는 이미 느린 가수, 먼저베이스에 할당 된 부분의 전체를 노래했다. 놀랍게도,이 악마 과정뿐만 아니라하지만이 이해할 짧은 조각의 매우 존재 이유 인 것처럼 소리 설득력 하모니를 만들어 작품. 스케이트하지 않도록 최대 그들을 즐기고, 음악 전달 불협화음 위에 상당히 천천히주의해야. from the score of CPDL #6605. 원래 키. F 주요. 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.