Ave verum corpus - MusicaSacra Church Music Forum
Transcription
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.