External-identifier: urn:imslp_record_id: TyBib25lIEplc3UgKFBhbGVzdHJpbmEsIEdpb3Zhbm5pIFBpZXJsdWlnaSBkYSk= Identifier. 11 more: Soprano 1 part • Alto 1 part • Tenor 1 part [G2 clef] • Tenor 1 part [C3 clef ] • Bass 1 part • Soprano 2 part • Alto 2 part • Tenor 2 part [G2 clef] • Tenor 2. Print and download in PDF or MIDI O Bone Jesu - Palestrina (attr.). Made by cmhodge.
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Giovanni Pierluigi da Palestrina View Download PDF: Complete sheet music ( 1 page - Ko)x 35 scores found for "O bone Jesu". Giovanni Pierluigi da Palestrina: O bone Jesu (a6) - Play streams in full or download MP3 from Classical Archives (ciagrampackdenpo.gq), the largest and best. O bone Jesu (Marco Antonio Ingegneri). From ChoralWiki. Jump to: navigation How to download Editions listing the work as by Palestrina. CPDL #
A C clef on the fourth line on the lowest part implies downward transposition of a fifth as in Missa Papae Marcelli. High tenor parts create problems for modern choirs.
They go up to A quite often, but go down to E which is outside the range of the modern alto. One solution is to have both altos and tenors on the part, so that tenors can fade out when it goes too high, and altos when it goes too low.
This is also evidence for the generation of the high tenor voice from the low tenor voice. Jeff Ostrowski criticises the application of Musica Ficta in Haberl and others, which makes me wish that he would write a blog on the subject.
I find that there is not much need for it in Fayrfax, but in Palestrina it needs to be applied freely, in the sharpening of leading notes, in avoiding the interval of a tritone within a part, and in the melodic construction of a note, adjacent note, first note, where the adjacent note will be sharpened or flattened to be a semitone away from the first note.
This has odd sounding effects if applied to notes a long way from the final of the mode in the cycle of fifths, so probably the further away, the less likely it is to be applied. Necessarily it is a variable art, so variations must have been tolerated.
O Bone Jesu
Editorial accidentals are of course marked as such in the edition. I prefer original note values, except in triple time sections, where I halve them.
There are some ligatures in Giovanni Gabrieli, and many more in Palestrina, but as they appear to have no effect on the performance, I see no need to note them, for the score should be as clear and unencumbered as possible.
For the same reason I question the need for dashes and underscores in the underlay.
They are missing in the part books, and if they are missing in the scores too it makes for an increase in visual clarity. These along with ampersands and abbreviations will be expanded as smoothly as possible, but I feel that such places should be unobtrusively marked, for the choir director might want to amend the underlay.
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Videos matching Ingegneri | O bone Jesu [á 4; Vox Humana Chamber Choir]
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Instead of copying scores ad nauseum or spending a lot of time ordering scores, you have everything you need right at hand.I have found this book to be the answer to many prayers as it solves many problems related to running a parish choir. Price is for score onlyPrice is for score and complete set of four parts Note: The publisher requires a minimum download of 1 licenses. The danger then is too low a pitch, leading to impenetrable textures, but probably Roman pitch was approximately a tone higher than ours, as it certainly was in England.
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