Ave verum corpus - MusicaSacra Church Music Forum

Ave verum corpus
No. 26, Cantiones Triginta Selectissimae
Ed. Clemes Stephani, Nürnburg, 1568
Tempo giusto ( =ca 92-96) (*1)
(*2)
Discantus
Josquin des Prez (c. 1450-1521)
Edited by Charles H. Giffen
Revised by William Copper
(Footnotes and tuning indications at the end.)
(*2)
2
3
A
ve ve
4
rum, [ve]
[rum] cor
Altera
vox
Altus
8
A
Tenor
ve ve
8
A
Bass
A
11
ve
5
rum cor pus na
6
pus [cor]
7
[pus] na
A
8
ve
ve
rumcor
pus na
ve
ve
tum.
Ex Ma
ve
tum:
rum
Ex
Ma
cor pus
ri
a
na
vir gi
Transposed and reduced from edition Copyright 2011 Charles H. Giffen for the Choral Public Domain Library.
Engraving, intonation symbols, footnotes, and musica ficta by William Copper
21
8
8
9
rum
cor
ri a
vir
tum.
Ex Ma ri
na
tum.
pus
tum.
Ex
10
a
vir gi
Ma
Ex
Ma
gi
ne.
ri
ne.
Ve
ri
a
vir
gi
ne.
(*3)
ne,
ex
29
Ma
ri
11
re
a vir
pas
gi
a
vir gi ne.
12
(*4)
sum
[ve re
Ve
13
sum] im
pas
ne.
Ve
mo
re
(*5)
8
Ve
re
pas
sum
Ve
re pas
sum [ve re
pas
re
sum] Ve
im mo la
pas sum im
re pas sum
mo la
im
tum
38
14
15
(*8)
la
tum
pas
sum
im
mo
la
in
tum
(*6)
8
(*6)
in cru
ce pro
ho
tum
in
(*7)
mo
45
la
tum
in
cru ce
pro ho mi ne,
17
in cru ce pro
in
ho
cru
in cru
ce
cru
in
(*9)
18
mi ne.
pro
ce,
ho
in cru ce pro
ho
mi
in cru
mi
ho mi
ce
cru ce pro ho mi ne,
ce
ne.
pro ho mi ne.
(*9)
pro
mi ne,
(*7)
16
8
cru ce pro ho mi ne,
ne
ne.
in cru
ce pro ho mi ne.
Tonic.
Tuned third, seventh, usually sixth, and often second. Tune to appropriate tonic, fifth,
fourth (usually), and fifth below (often), respectively. Marked to indicate
low tuning in relation to equal temperament. The third, 14 cents low; the seventh,
12 cents low; the sixth, when low, is 16 cents low; the second, when low, is 18 cents low.
No attempt should be made to tune away from an equal tempered note; rather, a part
with a tuned marking should identify and tune to the appropriate note in another voice.
Pure fifth above tonic, sometimes second when tuned above fifth, occasionally sixth
when tuned above second and used as secondary dominant with musica ficta.
Fourth, tuned a pure fifth below tonic.
(*1) Editorial addition; no tempo indication in original.
(*2) Intonation for the second scale step could be either raised or lowered; lowered then raised intonation
chosen because of parallel with bass voice entry.
(*3) Possible copyist error. C. H. Giffen gives C here.
(*4) Musica ficta added by Copper because of the perfect fourth skip A to D, and consequent high
intonation for the A.
(*5) Possible copyist error: skip into dissonance and secondary seventh chord both unusual.
(*6, 7, 8) Musica ficta in Discantus, Altus, and Bass added.
(*9) Tenor and Discantus might end here if the part book is followed literally.