Antonio de Cabeçon. (Castrillo Mota de Judíos 1510 Madrid 1566)
|
|
|
- Brenda Freeman
- 5 years ago
- Views:
Transcription
1 Antonio de Cabeçon (Castrillo Mota de Judíos 1510 Madrid 1566) Comiençan los motetes de a cinco y canciones glosados Fol from : Obras de Musica para Tecla, Arpa y Vihuela Madrid 1578 First part: 10 motets in 5 voices transcribed for keyboard instrument and harp and arranged for instruments by Arnold den Teuling Recorders or other instruments
2 Introduction to the edition of the remaining part of Antonio de Cabezón s Obras de Musica para Tecla, Arpa y Vihuela, Madrid 1578 Hernando de Cabeçon (Madrid 1541-Valladolid 1602), as he spelled his name, published his father s works in 1578, despite the year 1570 on the title page. The royal privilege for publication bears the date 1578 in the page which also contains the erratas. The Obras contain an extensive and very useful introduction, followed by 200 folio s of printed music. The notes are represented by numbers on a line, each line being one voice. Cabeçon explains in his introduction how this tablature works. A facsimile is in IMSLP. My project concerns an edition of the three sections of Cabeçon s work meant for keyboard instruments or (diatonic) harp, omitted by the editors Pedrell and Anglès since For the details on other editions and on my choice I refer to my edition for keyboard instrument. As by-products I give arrangements for 3-6 instruments, especially recorders, facilitated by Cabeçon s way of music notation: tablature with each line bearing one voice. If you play other instruments than recorders you should play the treble recorder part one octave down, and read the other parts with clefs an octave down. I included separate parts where the number of pages of the score exceeded 3. The page numbers only refer to the scores. Cabeçon maintained in his intabulations of existing pieces the composer s original note values and represented the original pitches, come stà, so without correcting them for chiavetti or high clefs. But he allowed himself liberties especially in final bars. He broke up long notes and applied multiple diminutions and ornaments. In the table of contents I put an * with pieces the originals of which may be found in IMSLP or CPLD. So you can compare Cabeçon s version with the original. You may consult the original source if possible, for instance at Early music Online, The originals are playable on recorders too. I follow the Grove Music Online for the authorship of the original vocal pieces. Cabeçon applied accidentals independently for every voice and repeated them for every note, as usual in the period. Though not usual any more I maintained that, and I did not correct Cabeçon s inconsistencies. But to be clear I had to add a natural or a flat sign where the signs were not repeated within the same bar and in places where voices cross. The performer should decide where he respects or corrects the inconsistencies. Many seeming inconsistencies are too consistent to be errors! Other editors and most performers, from Pedrell on, adapt modern use as to the accidentals. Pedrell and his followers do not give the details of their editorial accidentals. It is, however, very easy to add them oneself in this edition. Every voice should be played as an independent melody and clashes between, for instance, B flat and B natural may be regular and should not always be repaired. But evident errors should of course be corrected, and I mentioned them in my critical notes; beginning with this part of my edition I corrected the evident errors in superscript editorial accidentals; I added critical remarks where 2
3 relevant, sometimes referring to the edition for keyboard instrument. Horizontal brackets above one or more notes indicate that I put the marked notes one octave up, and horizontal brackets under a staff indicate any other change to make the voice playable on recorders. Please consult the keyboard edition if you wish to eliminate recorder adaptations unnecessary for other instruments. This second part of my edition is the first half of the section in the content list (Tabla) Comiençan los motetes de a cinco y canciones glosados, Here begin the motets in five voices and songs with diminutions. On fo. 104v the section begins with: Des de a qui se da principio a los motets y canciones de a cinco glosados, This is the beginning the motets and songs in five voices. It contains 24 works in five voices, from which this part contains the 10 motets, folionumbers The chansons will follow. Arnold den Teuling, Assen, Netherlands, January
4 Contents of Comiençan los motetes de a cinco y canciones glosados transcribed for recorders or other instruments Cabeçon s TABLA with corrected folio numbers This edition with page numbers (separate parts after their score, without continuing numbers) Stabat mater &c. con 2. parte. Iusquin105 Josquin Desprez, Stabat mater dolorosa 107* Inviolata. Iusquin. con 2. y 3. parte 110v Josquin Desprez, Inviolata, integra et casta es 129* Si bona suscepimus Verdeloth 114v Philippe Verdelot, Si bona suscepimus 145* Aspice domine Iaqueth 118 Jacquet de Mantua, Aspice Domine quia facta est 159 Saname domine. Clemens non papa 121 Jacob Clemens non Papa, Sana me Domine, abridged, 171 In te domine speravi con segunda Lupus Hellinck, In te Domine speravi, come parte 123v stà 182 alla quinta bassa 201 Tercera parte de virgo salutifera 128v Josquin Desprez, Virgo salutiferi, third part 220 Hierusalem luget. Ricafort 129 Jean Richafort or Lupus Hellinck, Jerusalem luge 224* Stabat mater, Iusquin con diferente Josquin Desprez, Stabat mater dolorosa glosa 131 with other diminutions (first part only) 231* Inviolata Iusquin con differente glosa134 Josquin, Inviolata, with other diminutions (first part only) 244* 4
5 Soprano Recorder Superius Treble Recorder Contra Tenor Recorder Tenor Tenor Recorder Vacans Bass Recorder Bassus 5 Stabat mater &c. con 2. parte Iusquin 1 Fo Stabat mater dolorosa, Josquin Desprez. A. de Cabeçon ( ) Arrangement Arnold den Teuling
6 Cabezon/Josquin - Stabat mater 21 27
7 33 Cabezon/Josquin - Stabat mater fo. 105v 46
8 Cabezon/Josquin - Stabat mater 57 62
9 68 Cabezon/Josquin - Stabat mater
10 112 Cabezon/Josquin - Stabat mater
11 101 Cabezon/Josquin - Stabat mater fo. 106v 113
12 Cabezon/Josquin - Stabat mater #
13 Cabezon/Josquin - Stabat mater 136 fo
14 Cabezon/Josquin - Stabat mater
15 Cabezon/Josquin - Stabat mater
16 Segunda parte Cabezon/Josquin - Stabat mater
17 197 Cabezon/Josquin - Stabat mater fo
18 Cabezon/Josquin - Stabat mater
19 234 Cabezon/Josquin - Stabat mater
20 Cabezon/Josquin - Stabat mater fo. 109
21 267 Cabezon/Josquin - Stabat mater
22 Cabezon/Josquin - Stabat mater fo. 109v
23 Cabezon/Josquin - Stabat mater
24 Cabezon/Josquin - Stabat mater
25 334 Cabezon/Josquin - Stabat mater
26 Cabezon/Josquin - Stabat mater The arrangement has been made from Cabeçon's keyboard piece elsewhere in this site. Josquin's original is in the Chigi codex, included in IMSLP fo. CCXXXIIIv-CCXXXVII, in the pdf format part 6 pdf pages Josquin used Binchois's chanson Comme femme as cantus firmus. His parts are: unnamed upper part (superius), Contra, Tenor (cantus firmus),vacans (meaning: unnamed too), and Bassus. The original clefs are in this order G2, C3, C3, C4 and F3 in the first part, and G2, C3, C2, C4 and F4 in the second part. So they are high clefs or chiavetti, and Josquin's piece should presumably be performed a fourth down, with an extremely low bass voice. The original compass of Cabeçon's voices is as follows: Superius: a-a flat", Contra: c-d", Tenor: e-c",vacans (= unnamed): b flat-b'flat, Bass: F- d'. Attribution to recorders in the original pitches would result in treble, tenor, tenor, bass and bass, with many, though not unplayable, high notes. I prevented the use of the highest recorder register: changing the attribution to the voices and by changing low notes where that was not possible. The adaptations concern the following bars: 5, 22-23, 43, 70, 181, , 217, 244, , , 301 and 308. Of course everybody is free to make other choices. And you may contact me for an instrumention of the original score.
27 Soprano Recorder Superius Stabat mater &c. con 2. parte Iusquin 1 Fo Stabat mater dolorosa, Josquin Desprez. A. de Cabeçon ( ) Arrangement Arnold den Teuling fo. 105v
28 2 107fo. 106v Soprano Recorder Superius fo
29 179 Segunda parte Soprano Recorder Superius fo fo
30 4 305 Soprano Recorder Superius
31 2 105 fo. 106v Treble Recorder Contra fo
32 179 Segunda parte Treble Recorder Contra fo fo
33 4 297 Treble Recorder Contra
34 Tenor Recorder Tenor Stabat mater &c. con 2. parte Iusquin 1 Fo Stabat mater dolorosa, Josquin Desprez. A. de Cabeçon ( ) Arrangement Arnold den Teuling fo. 105v fo. 106v 116
35 2 127 Tenor Recorder Tenor # 137 fo
36 179 Segunda parte Tenor Recorder Tenor fo fo
37 4 320 Tenor Recorder Tenor
38 Tenor Recorder Vacans Stabat mater &c. con 2. parte Iusquin 1 Fo Stabat mater dolorosa, Josquin Desprez. A. de Cabeçon ( ) Arrangement Arnold den Teuling fo. 105v fo. 106v
39 2 112 Tenor Recorder Vacans fo
40 179 Segunda parte Tenor Recorder Vacans fo fo
41 4 303 Tenor Recorder Vacans
42 Bass Recorder Bassus Stabat mater &c. con 2. parte Iusquin 1 Fo Stabat mater dolorosa, Josquin Desprez. A. de Cabeçon ( ) Arrangement Arnold den Teuling fo. 105v fo. 106v
43 2 114 Bass Recorder Bassus fo
44 179 Segunda parte Bass Recorder Bassus fo fo
45 4 318 Bass Recorder Bassus
46 Alto Recorder Superius Alto Recorder Tenor secundus Tenor Recorder Altus Tenor Recorder Tenor primus Bass Recorder Bassus Inviolata. Iusquin. con 2. y 3. parte Fo. 110v. Inviolata, integra et casta es, Josquin Desprez 1 A. de Cabeçon ( ) Arrangement Arnold den Teuling
47 Cabezón / Josquin - Inviolata 23 29
48 Cabezón / Josquin - Inviolata fo
49 Cabezón / Josquin - Inviolata 61 67
50 Cabezón / Josquin - Inviolata fo. 111v
51 Cabezón / Josquin - Inviolata fo.112
52 108 Cabezón / Josquin - Inviolata
53 Segunda parte de Inviolata. Iusquin. Cabezón / Josquin - Inviolata fo. 112v.
54 148 Cabezón / Josquin - Inviolata
55 Cabezón / Josquin - Inviolata fo. 113
56 183 Cabezón / Josquin - Inviolata
57 Cabezón / Josquin - Inviolata Tercera parte de Inviolata. fo. 113v.
58 219 Cabezón / Josquin - Inviolata
59 Cabezón / Josquin - Inviolata 242 fo # # 3 3
60 254 Cabezón / Josquin - Inviolata
61 Cabezón / Josquin - Inviolata 281 fo. 114v. Tenor primus bar 63 note 6: x not notated; other solutions possible. Tenor primus bar 277: rest or lengthening sign not notated, it may be a semibrevis f, tied to the semibrevis f in bar 276. Cabeçon handles the canon too free to decide. According to Petrucci's edition 1519: Motetti de la corona Liber quartus, nr. VI (in IMSLP), the tenors are a fuga in diapente, a canon on the fifth. The two tenors start in bar 19, and bar 25 in the first part, bar 150 and 154 in the second, and bar 211 and 213 in the third part. Josquin's original clefs in Petrucci's edition are C2 in the first part, C1 in the other parts, C3, C4 (tenor), and F4. Cabeçon composed a second set of glosas on this motet.
62 Alto Recorder Superius Alto Recorder Superius 1 Inviolata. Iusquin. con 2. y 3. parte Fo. 110v. Inviolata, integra et casta es, Josquin Desprez A. de Cabeçon ( ) Arrangement Arnold den Teuling
63 Alto Recorder Superius 121 Segunda parte de Inviolata. Iusquin Tercera parte de Inviolata
64 228 Alto Recorder Superius
65 Alto Recorder Tenor secundus Alto Recorder Tenor secundus Inviolata. Iusquin. con 2. y 3. parte Fo. 110v. Inviolata, integra et casta es, Josquin Desprez 1 A. de Cabeçon ( ) Arrangement Arnold den Teuling Segunda parte de Inviolata. Iusquin
66 2 173 Alto Recorder Tenor secundus Tercera parte de Inviolata
67 Tenor Recorder Tenor primus Tenor Recorder Tenor primus 26 Inviolata. Iusquin. con 2. y 3. parte Fo. 110v. Inviolata, integra et casta es, Josquin Desprez 1 A. de Cabeçon ( ) Arrangement Arnold den Teuling Segunda parte de Inviolata. Iusquin
68 Tenor Recorder Tenor primus Tercera parte de Inviolata
69 Tenor Recorder Altus Tenor Recorder Altus Inviolata. Iusquin. con 2. y 3. parte Fo. 110v. Inviolata, integra et casta es, Josquin Desprez 1 A. de Cabeçon ( ) Arrangement Arnold den Teuling
70 2 118 Tenor Recorder Altus 126Segunda parte de Inviolata. Iusquin Tercera parte de Inviolata
71 Tenor Recorder Altus # #
72 Bass Recorder Bassus Bass Recorder Bassus Inviolata. Iusquin. con 2. y 3. parte Fo. 110v. Inviolata, integra et casta es, Josquin Desprez 1 A. de Cabeçon ( ) Arrangement Arnold den Teuling
73 2 115 Bass Recorder Bassus 126 Segunda parte de Inviolata. Iusquin Tercera parte de Inviolata. 223
74 233 Bass Recorder Bassus
75 Treble Recorder Discantus Tenor Recorder Quintus Tenor Recorder Contratenor Tenor Recorder Tenor Bass Recorder Bassus 1 Si bona suscepimus Verdelot Fo. 114v. Philippe Verdelot A. de Cabeçon ( ) Arrangement Arnold den Teuling
76 Cabezon/Verdelot - Si bona suscepimus 22 fo
77 33 Cabezon/Verdelot - Si bona suscepimus
78 Cabezon/Verdelot - Si bona suscepimus 56 fo. 115v. 62
79 67 Cabezon/Verdelot - Si bona suscepimus
80 Cabezon/Verdelot - Si bona suscepimus 88 fo
81 98 Cabezon/Verdelot - Si bona suscepimus
82 Cabezon/Verdelot - Si bona suscepimus 120 fo. 116v. 127
83 133 Cabezon/Verdelot - Si bona suscepimus
84 154 Cabezon/Verdelot - Si bona suscepimus 151 fo
85 Cabezon/Verdelot - Si bona suscepimus # #
86 156 Cabezon/Verdelot - Si bona suscepimus 185 fo. 117v #
87 202 Cabezon/Verdelot - Si bona suscepimus fo. 118
88 Cabezon/Verdelot - Si bona suscepimus 224 The original clefs of Verdelot's piece, as published by Joh. Formschneider, Novum et insigne opus musicum, Nürnberg 1539, nr. 17, accessible in IMSLP, are C2, C4, C4, C4 and F4, with part names discantus, contratenor, tenor, quintus and bassus. Cabeçon placed the voices in another order: discantus, quintus, contratenor, tenor, bassus, so placing the quintus on his line 4. The original piece by Verdelot is accessible in CPLD. Verdelot's compass of the contratenor (Cabeçon's line 3, here the middle voice) is b-flat-f', tenor (line 2, here voice 4) c-d' and quintus (line 4, here voice 2) c-e'. Cabeçon may have made his own choice, but possibly he used a source with this disposition. Some transpositions in this recorder arrangement were necessary. I marked octavated or otherwise raised notes with brackets above, and notes moved to other voices with brackets below the staves. Bar 79 (C.'s line 4, staff 2) quintus note 2 a and (line 1) bassus note 2 f# are notated one quaver position too far to the right, I changed # at quintus note 2 a to discantus note 6 f '#; Bar 145 (line and staff 3) contratenor and (line 1) bassus contains 7 quavers only; I prefer lengthening the first note supposing that the duration signs q and e are missing; Bar 192 bassus: lengthening sign missing; Bar 221 (line 4, staff 2) quintus: rest sign missing.
89 Treble Recorder Discantus 1 Si bona suscepimus Verdelot Fo. 114v. Philippe Verdelot A. de Cabeçon ( ) Arrangement Arnold den Teuling
90 2 78 Treble Recorder Discantus
91 153 Treble Recorder Discantus #
92 4 221 Treble Recorder Discantus 225
93 Tenor Recorder Contratenor Si bona suscepimus Verdelot Fo. 114v. Philippe Verdelot A. de Cabeçon ( ) Arrangement Arnold den Teuling
94 Tenor Recorder Contratenor #
95 186 Tenor Recorder Contratenor #
96 Tenor Recorder Tenor Si bona suscepimus Verdelot Fo. 114v. Philippe Verdelot A. de Cabeçon ( ) Arrangement Arnold den Teuling
97 2 99 Tenor Recorder Tenor
98 Tenor Recorder Tenor 3
99 Tenor Recorder Quintus 16 1 Si bona suscepimus Verdelot Fo. 114v. Philippe Verdelot A. de Cabeçon ( ) Arrangement Arnold den Teuling
100 Tenor Recorder Quintus 216
101 223 Tenor Recorder Quintus 3
102 Bass Recorder Bassus Si bona suscepimus Verdelot Fo. 114v. Philippe Verdelot A. de Cabeçon ( ) Arrangement Arnold den Teuling
103 Bass Recorder Bassus
104 223 Bass Recorder Bassus 3
105 Descant Recorder Cantus Treble Recorder Altus Tenor Recorder Tenor Tenor Recorder Quintus Bass Recorder Bassus Aspice Domine Iaquet Fo. 118 Jacquet de Mantua, Aspice Domine quia facta est A. de Cabeçon ( ) Arrangement Arnold den Teuling
106 160 Cabezon/Jacquet - Aspice Domine 19 fo. 118v
107 37 Cabezon/Jacquet - Aspice Domine
108 162 Cabezon/Jacquet - Aspice Domine 54 fo
109 71 Cabezon/Jacquet - Aspice Domine
110 Cabezon/Jacquet - Aspice Domine fo.119v
111 108 Cabezon/Jacquet - Aspice Domine # 120
112 166 Cabezon/Jacquet - Aspice Domine 126 fo
113 143 Cabezon/Jacquet - Aspice Domine
114 168 Cabezon/Jacquet - Aspice Domine 165 fo.120v #
115 185 Cabezon/Jacquet - Aspice Domine fo.121
116 170 Cabezon/Jacquet - Aspice Domine See critical comment in the keyboard edition, especially for bar 86.
117 Descant Recorder Cantus 15 1 Aspice Domine Iaquet Fo. 118 Jacquet de Mantua, Aspice Domine quia facta est A. de Cabeçon ( ) Arrangement Arnold den Teuling
118 Descant Recorder Cantus #
119 Descant Recorder Cantus
120 Treble Recorder Altus 6 1 Aspice Domine Iaquet Fo. 118 Jacquet de Mantua, Aspice Domine quia facta est A. de Cabeçon ( ) Arrangement Arnold den Teuling
121 Treble Recorder Altus
122 191 Treble Recorder Altus
123 Tenor Recorder Tenor 1 9 Aspice Domine Iaquet Fo. 118 Jacquet de Mantua, Aspice Domine quia facta est A. de Cabeçon ( ) Arrangement Arnold den Teuling
124 Tenor Recorder Tenor #
125 Tenor Recorder Tenor 3 211
126 Tenor Recorder Quintus Aspice Domine Iaquet Fo. 118 Jacquet de Mantua, Aspice Domine quia facta est A. de Cabeçon ( ) Arrangement Arnold den Teuling
127 2 110 Tenor Recorder Quintus
128 205 Tenor Recorder Quintus 3 210
129 Bass Recorder Bassus 18 1 Aspice Domine Iaquet Fo. 118 Jacquet de Mantua, Aspice Domine quia facta est A. de Cabeçon ( ) Arrangement Arnold den Teuling
130 2 106 Bass Recorder Bassus
131 Superius Descant Recorder Contratenor Treble Recorder Quintus Treble Recorder Tenor Tenor Recorder Bassus Bass Recorder Sana me Domine. Clemens non Papa Fo. 121 Jacob Clemens non Papa, Sana me Domine, abridged 1 Antonio de Cabeçon ( ) Arrangement Arnold den Teuling
132 Cabezon/Clemens - Sana me 24 fo.121v. 31 #
133 37 Cabezon/Clemens - Sana me # 47 #
134 Cabezon/Clemens - Sana me 57 fo.122 # 63
135 70 Cabezon/Clemens - Sana me # #
136 Cabezon/Clemens - Sana me fo.122v
137 105 Cabezon/Clemens - Sana me
138 Cabezon/Clemens - Sana me
139 138 Cabezon/Clemens - Sana me
140 Cabezon/Clemens - Sana me
141 172 Cabezon/Clemens - Sana me 181 Bar 104 Bassus: both g's notated an octave down; bar 145 Tenor: d notated 1 octave up. Bar 154 Tenor n.1: 3=a, in page erratas however: "el 3 del tenor ligatura", so tied to the previous note b. Cabeçon did not arrange the whole piece, but left out the second stanza, bars in the edition by K.P. Bernet Kempers of Jacob Clemens non Papa in CMM, vol. IV nr. 15 pp In bar of this edition Cabeçon proceeds to the refrain "Quoniam in te spes mea recumbit", "Because my hope rests in thee". Original clefs: C1,C3,C3,C4,F4.
142 Superius Descant Recorder 1 Sana me Domine. Clemens non Papa Fo. 121 Jacob Clemens non Papa, Sana me Domine, abridged Antonio de Cabeçon ( ) Arrangement Arnold den Teuling # 44 #
143 2 Superius Descant Recorder
144 Superius Descant Recorder
145 Contratenor Treble Recorder 9 1 Sana me Domine. Clemens non Papa Fo. 121 Jacob Clemens non Papa, Sana me Domine, abridged Antonio de Cabeçon ( ) Arrangement Arnold den Teuling #
146 # # Contratenor Treble Recorder
147 Quintus Treble Recorder 1 Sana me Domine. Clemens non Papa Fo. 121 Jacob Clemens non Papa, Sana me Domine, abridged Antonio de Cabeçon ( ) Arrangement Arnold den Teuling #
148 2 107 Quintus Treble Recorder
149 Tenor Tenor Recorder 1 Sana me Domine. Clemens non Papa Fo. 121 Jacob Clemens non Papa, Sana me Domine, abridged Antonio de Cabeçon ( ) Arrangement Arnold den Teuling
150 2 Tenor Tenor Recorder
151 Tenor Tenor Recorder
152 Bassus Bass Recorder 19 1 Sana me Domine. Clemens non Papa Fo. 121 Jacob Clemens non Papa, Sana me Domine, abridged Antonio de Cabeçon ( ) Arrangement Arnold den Teuling
153 2 108 Bassus Bass Recorder
154 Descant Recorder Superius primus Descant Recorder Superius secundus Treble Recorder Contratenor Treble Recorder Tenor Tenor Recorder Bassus In te Domine speravi. Lupus. con segunda parte Fo. 123v. Lupus Hellinck, In te Domine speravi 1 Antonio de Cabeçon ( ) Arrangement Arnold den Teuling fo.124
155 19 Cabezon/Lupus - In te Domine
156 Cabezon/Lupus - In te Domine 3 45 fo.124v. 51
157 57 Cabezon/Lupus - In te Domine
158 Cabezon/Lupus - In te Domine 83 fo
159 95 Cabezon/Lupus - In te Domine
160 Cabezon/Lupus - In te Domine 118 fo.125v. 124
161 Cabezon/Lupus - In te Domine
162 Cabezon/Lupus - In te Domine 153 fo
163 Cabezon/Lupus - In te Domine Segunda parte de In te Domine speravi
164 192 Cabezon/Lupus - In te Domine 177 fo.126v
165 193 Cabezon/Lupus - In te Domine
166 194 Cabezon/Lupus - In te Domine 211 fo
167 231 Cabezon/Lupus - In te Domine
168 196 Cabezon/Lupus - In te Domine 248 fo.127v
169 265 Cabezon/Lupus - In te Domine
170 198 fo Cabezon/Lupus - In te Domine
171 306 Cabezon/Lupus - In te Domine
172 Cabezon/Lupus - In te Domine Cabeçon displays the voices of Lupus Hellinck's original just as published in A. Smijers and T. Merrit, Treize livres de motets parus chez Pierre Attaingnant en 1534 et 1535, Monaco 1962, dl IX p. 55: resp. Primus superius, Secundus superius, Contratenor, Tenor and Bassus. Formschneider's 1537 edition where it is nr 16, (in partbooks, in IMSLP) calls the first two voices Quintus and Discantus. The original clefs are G2, G2, C3, C3 and F3, high clefs or chiavetti, indicating that the piece should be performed a fifth down, alla quinta bassa. Cabeçon arranged his version come stà, at the notated pitch. So is this recorder arrangement for 2 descant, 2 treble and tenor recorders. I made another arrangement a fifth down for 2 treble, 2 tenor and bass recorder. Bar 44 Superius secundus n.2: triplet number 3 missing; note value notation is: q. + x above d'; the alternative interpretation is normally notated as q above g' + lengthening sign under note value x; Bar 111 Tenor n.5: note value change missing; Bar 128 Tenor n.1: notated as c"; Bar 130 Superius primus n. 6: notated as e"; Bar 149 Bassus: G, exceding the compass of the Tenor or, after transposing down, Bass recorders. Lupus: g Bar 308 Bassus: semibrevis c confirmed by Lupus's original; vertical stroke in position of n. 2 neglected.
173 In te Domine speravi. Lupus. con segunda parte Descant Recorder Superius primus Fo. 123v. Lupus Hellinck, In te Domine speravi Antonio de Cabeçon ( ) Arrangement Arnold den Teuling 2016
174 Segunda parte de In te Domine speravi Descant Recorder Superius primus
175 Descant Recorder Superius primus 3
176 In te Domine speravi. Lupus. con segunda parte Descant Recorder Superius secundus Fo. 123v. Lupus Hellinck, In te Domine speravi Antonio de Cabeçon ( ) Arrangement Arnold den Teuling
177 Descant Recorder Superius secundus 161 Segunda parte de In te Domine speravi
178 Descant Recorder Superius secundus
179 In te Domine speravi. Lupus. con segunda parte Treble Recorder Contratenor Fo. 123v. Lupus Hellinck, In te Domine speravi Antonio de Cabeçon ( ) Arrangement Arnold den Teuling 2016
180 Segunda parte de In te Domine speravi Treble Recorder Contratenor
181 Treble Recorder Contratenor 3
182 4 299 Treble Recorder Contratenor
183 In te Domine speravi. Lupus. con segunda parte Fo. 123v. Lupus Hellinck, In te Domine speravi Treble Recorder Tenor Antonio de Cabeçon ( ) Arrangement Arnold den Teuling 2016
184 Treble Recorder Tenor Segunda parte de In te Domine speravi
185 Treble Recorder Tenor 3
186 4 316 Treble Recorder Tenor
187 In te Domine speravi. Lupus. con segunda parte Tenor Recorder Bassus Fo. 123v. Lupus Hellinck, In te Domine speravi Antonio de Cabeçon ( ) Arrangement Arnold den Teuling 2016
188 Tenor Recorder Bassus 161 Segunda parte de In te Domine speravi
189 Tenor Recorder Bassus
190 Treble Recorder Superius primus Treble Recorder Superius secundus Tenor Recorder Contratenor Tenor Recorder Tenor 6 Bass Recorder Bassus In te Domine speravi. Lupus. con segunda parte Fo. 123v. Lupus Hellinck, In te Domine speravi alla quinta bassa 1 Antonio de Cabeçon ( ) Arrangement Arnold den Teuling fo.124
191 Cabezon/Lupus - In te Domine 26 32
192 38 Cabezon/Lupus - In te Domine fo.124v. 3 51
193 204 Cabezon/Lupus - In te Domine
194 76 Cabezon/Lupus - In te Domine fo
195 Cabezon/Lupus - In te Domine
196 111 Cabezon/Lupus - In te Domine fo.125v. 124
197 Cabezon/Lupus - In te Domine
198 147 Cabezon/Lupus - In te Domine fo
199 210 Cabezon/Lupus - In te Domine 161 Segunda parte de In te Domine speravi
200 Cabezon/Lupus - In te Domine fo.126v
201 Cabezon/Lupus - In te Domine
202 Cabezon/Lupus - In te Domine fo
203 Cabezon/Lupus - In te Domine
204 Cabezon/Lupus - In te Domine fo.127v
205 Cabezon/Lupus - In te Domine
206 284 fo.128 Cabezon/Lupus - In te Domine
207 Cabezon/Lupus - In te Domine 311
208 316 Cabezon/Lupus - In te Domine 219 Cabeçon displays the voices of Lupus Hellinck's original just as published in A. Smijers and T. Merrit, Treize livres de motets parus chez Pierre Attaingnant en 1534 et 1535, Monaco 1962, dl IX p. 55: resp. Primus superius, Secundus superius, Contratenor, Tenor and Bassus. Formschneider's 1537 edition where it is nr 16, (in partbooks, in IMSLP) calls the first two voices Quintus and Discantus. The original clefs are G2, G2, C3, C3 and F3, high clefs or chiavetti, indicating that the piece should be performed a fifth down, alla quinta bassa. Cabeçon arranged his version at the notated pitch. I transposed this recorder version a fifth down, for 2 treble, 2 tenor and bass recorders. I made another version come stà, at its notated pitch, for 2 descant, 2 treble and 1 tenor recorders. Bar 44 Superius secundus n.2: triplet number 3 missing; note value notation is: q. + x above d'; the alternative interpretation is normally notated as q above g' + lengthening sign under note value x; Bar 111 Tenor n.5: note value change missing; Bar 128 Tenor n.1: notated as c"; Bar 130 Superius primus n. 6: notated as e"; Bar 149 Bassus: G, exceding the compass of the Tenor or, after transposing down, Bass recorders. Lupus: g Bar 308 Bassus: semibrevis c confirmed by Lupus's original; vertical stroke in position of n. 2 neglected.
209 In te Domine speravi. Lupus. con segunda parte Fo. 123v. Lupus Hellinck, In te Domine speravi alla quinta bassa Treble Recorder Superius primus Antonio de Cabeçon ( ) Arrangement Arnold den Teuling 2016
210 2 120 Treble Recorder Superius primus Segunda parte de In te Domine speravi
211 Treble Recorder Superius primus 3
212 In te Domine speravi. Lupus. con segunda parte Fo. 123v. Lupus Hellinck, In te Domine speravi alla quinta bassa Treble Recorder Superius secundus Antonio de Cabeçon ( ) Arrangement Arnold den Teuling
213 Treble Recorder Superius secundus Segunda parte de In te Domine speravi
214 226 Treble Recorder Superius secundus
215 In te Domine speravi. Lupus. con segunda parte Fo. 123v. Lupus Hellinck, In te Domine speravi alla quinta bassa Tenor Recorder Contratenor Antonio de Cabeçon ( ) Arrangement Arnold den Teuling 2016
216 Tenor Recorder Contratenor Segunda parte de In te Domine speravi 170
217 Tenor Recorder Contratenor 3
218 4 291 Tenor Recorder Contratenor
219 In te Domine speravi. Lupus. con segunda parte Fo. 123v. Lupus Hellinck, In te Domine speravi Tenor Recorder Tenor alla quinta bassa Antonio de Cabeçon ( ) Arrangement Arnold den Teuling 2016
220 Tenor Recorder Tenor 161 Segunda parte de In te Domine speravi
221 Tenor Recorder Tenor 3
222 In te Domine speravi. Lupus. con segunda parte Fo. 123v. Lupus Hellinck, In te Domine speravi alla quinta bassa Bass Recorder Bassus Antonio de Cabeçon ( ) Arrangement Arnold den Teuling
223 Bass Recorder Bassus Segunda parte de In te Domine speravi
224 238 Bass Recorder Bassus
225 Descant Recorder Superius Tenor Recorder Altus Treble/Tenor Recorder Secunda vox/tenor Tenor Recorder Tenor Bass Recorder Bassus Tercera parte de virgo salutifera. Iusquin 1 Fo.128v. Josquin Desprez, Virgo salutiferi, third part A. de Cabeçon ( ) Arrangement Arnold den Teuling
226 Cabezon/Josquin - Virgo Salutiferi
227 Cabezon/Josquin - Virgo Salutiferi 56 fo
228 72 Cabezon/Josquin - Virgo Salutiferi Cabeçon intabulated this piece without applying glosas; he halved the note values and added barlines and accidentals. In Petrucci's edition in Motetti de corona Book III nr IIII (in IMSLP) are the voices Superius, Altus, Secunda vox/ Tenor, Tenor and Bassus. The clefs are C1, C4, C4, C4 and F4 in most Josquin sources. The Superius and Secunda vox make a cantus firmus on the first part of the Gregorian plainchant Ave Maria, alleluia (4x), in canon starting at bar 17 and 19. In plainchant as sung today the e' in Secunda vox bar 21 and the e" in Superius bar 23 are flattened. Nor Josquin nor Cabeçon do so. In Gregorian plainchant the flattening of the si (or b) is and was not obligatory in all cases. The melody is not exactly the same as in the modern Graduale Romanum. The triplets in Altus bars and are different from all sources of Josquin's motet known to me. Bar 22 voice 4 n.3: sharp sign neglected after comparison with Josquin's score.
229 Descant Recorder Superius Tercera parte de virgo salutifera. Iusquin Fo.128v. Josquin Desprez, Virgo salutiferi, third part 1 A. de Cabeçon ( ) Arrangement Arnold den Teuling
230 Tercera parte de virgo salutifera. Iusquin Fo.128v. Josquin Desprez, Virgo salutiferi, third part Treble/Tenor Recorder Secunda vox/tenor 1 A. de Cabeçon ( ) Arrangement Arnold den Teuling
231 Tenor Recorder Altus Tercera parte de virgo salutifera. Iusquin Fo.128v. Josquin Desprez, Virgo salutiferi, third part A. de Cabeçon ( ) Arrangement Arnold den Teuling
232 Tenor Recorder Tenor 1 Tercera parte de virgo salutifera. Iusquin Fo.128v. Josquin Desprez, Virgo salutiferi, third part A. de Cabeçon ( ) Arrangement Arnold den Teuling
233 Tercera parte de virgo salutifera. Iusquin Fo.128v. Josquin Desprez, Virgo salutiferi, third part Bass Recorder Bassus 1 A. de Cabeçon ( ) Arrangement Arnold den Teuling
234 Descant Recorder Superius Treble Recorder Contratenor Tenor Recorder Primus tenor Tenor Recorder Secundus tenor Bass Recorder Bassus Hierusalem luget. Ricafort Fo.129. Jean Richafort or Lupus Hellinck, Jerusalem luge 1 A. de Cabeçon ( ) Arrangement Arnold den Teuling
235 16 Cabezon / Richafort - Jerusalem luge
236 Cabezon / Richafort - Jerusalem luge 41 47
237 Cabezon / Richafort - Jerusalem luge # 65
238 Cabezon / Richafort - Jerusalem luge 76 82
239 Cabezon / Richafort - Jerusalem luge
240 Cabezon / Richafort - Jerusalem luge Cabeçon glosased the first part of Lupus's or Richafort's work only. Its voices are Superius, Contratenor, Primus tenor, Secuncus tenor and Bassus, with clefs C1, C3, C4, C4 and F4 in the edition of Pierre Attaingnant, Motettorum liber octavus, Paris An edition of the original is in IMSLP as a work by Lupus Hellinck.
241 Descant Recorder Superius Hierusalem luget. Ricafort Fo.129. Jean Richafort or Lupus Hellinck, Jerusalem luge A. de Cabeçon ( ) Arrangement Arnold den Teuling
242 Treble Recorder Contratenor 1 Hierusalem luget. Ricafort Fo.129. Jean Richafort or Lupus Hellinck, Jerusalem luge A. de Cabeçon ( ) Arrangement Arnold den Teuling # 74 79
243 2 85 Treble Recorder Contratenor
244 Tenor Recorder Primus tenor Hierusalem luget. Ricafort Fo.129. Jean Richafort or Lupus Hellinck, Jerusalem luge A. de Cabeçon ( ) Arrangement Arnold den Teuling
245 2 102 Tenor Recorder Primus tenor
246 Tenor Recorder Secundus tenor 18 1 Hierusalem luget. Ricafort Fo.129. Jean Richafort or Lupus Hellinck, Jerusalem luge A. de Cabeçon ( ) Arrangement Arnold den Teuling
247 Bass Recorder Bassus 1 Hierusalem luget. Ricafort Fo.129. Jean Richafort or Lupus Hellinck, Jerusalem luge A. de Cabeçon ( ) Arrangement Arnold den Teuling
248 2 Bass Recorder Bassus
249 Descant Recorder Superius Treble Recorder Contra Treble Recorder Tenor Tenor Recorder Vacans Bass Recorder Bassus Stabat mater dolorosa. Iusquin con differente glosa Fo. 131 Josquin Desprez, Stabat mater dolorosa, first part, with different diminutions 1 A. de Cabeçon ( ) Arrangement Arnold den Teuling
250 232 Cabezon / Josquin - Stabat mater fo.131v
251 30 Cabezon / Josquin - Stabat mater
252 Cabezon / Josquin - Stabat mater fo.132
253 65 Cabezon / Josquin - Stabat mater
254 236 Cabezon / Josquin - Stabat mater fo.132v 3 3
255 97 Cabezon / Josquin - Stabat mater
256 Cabezon / Josquin - Stabat mater 119 fo
257 Cabezon / Josquin - Stabat mater
258 Cabezon / Josquin - Stabat mater 150 fo.133v. 155
259 160 Cabezon / Josquin - Stabat mater
260 Cabezon / Josquin - Stabat mater The arrangement has been made from Cabeçon's keyboard piece elsewhere in this site. Josquin's original is in the Chigi codex, included in IMSLP fo. CCXXXIIIv-CCXXXVII, in the pdf format part 6 pdf pages Josquin used Binchois's chanson Comme femme as cantus firmus. His parts are: unnamed upper part (superius), Contra, Tenor (cantus firmus),vacans (meaning: unnamed too), and Bassus. The original clefs are in this order G2, C3, C3, C4 and F3 in the first part, and G2, C3, C2, C4 and F4 in the second part. So they may be high clefs or chiavetti, and in that case Josquin's piece should be performed a fourth down, however, with an extremely low bass voice. The original compass of Cabeçon's voices is as follows: Superius: b-g", Contra: d-f", Tenor: d-f", Vacans (= unnamed): c-e', Bass: F- e' flat. Attribution to recorders at these pitches would result in treble, tenor, tenor, bass and bass, with many, and some unplayable, high notes. I kept the notated pitches and prevented the use of the highest recorder register by changing the attribution to the voices and by changing low notes where that was not possible. The changes are indicated by brackets. Of course everybody is free to make other choices. And you may contact me for an other instrumention of the score. Bar 27 Superius n.3: # not in Josquin, but there are no sharps in bar either; after listening to different possibilities I concluded that normalising the sharps would sound very dull, though sharpening bar 27 note 4, the b' flat to b' natural, would be acceptable. Bar 125 Bassus n.1: d', missing a stroke, pitch confirmed by Josquin's original; Bar 168 Bassus n.1: d', missing a stroke, pitch confirmed by Josquin's original. Bar 177 This blank bar is Cabeçon's.
261 Stabat mater dolorosa. Iusquin con differente glosa Descant Recorder Superius 1 6 Fo. 131 Josquin Desprez, Stabat mater dolorosa, first part, with different diminutions A. de Cabeçon ( ) Arrangement Arnold den Teuling
262 2 74 Descant Recorder Superius
263 Stabat mater dolorosa. Iusquin con differente glosa Treble Recorder Contra 1 A. de Cabeçon ( ) Arrangement Arnold den Teuling
264 Treble Recorder Contra
265 Stabat mater dolorosa. Iusquin con differente glosa Treble Recorder Tenor 1 Fo. 131 Josquin Desprez, Stabat mater dolorosa, first part, with different diminutions A. de Cabeçon ( ) Arrangement Arnold den Teuling
266 2 108 Treble Recorder Tenor
267 Stabat mater dolorosa. Iusquin con differente glosa Tenor Recorder Vacans 1 7 Fo. 131 Josquin Desprez, Stabat mater dolorosa, first part, with different diminutions A. de Cabeçon ( ) Arrangement Arnold den Teuling
268 2 89 Tenor Recorder Vacans
269 Bass Recorder Bassus 11 Stabat mater dolorosa. Iusquin con differente glosa 1 A. de Cabeçon ( ) Arrangement Arnold den Teuling
270 2 98 Bass Recorder Bassus
271 Treble Recorder Superius Treble Recorder Tenor II Tenor Recorder Tenor I Tenor Recorder Altus Bass Recorder Bassus Inviolata. Iusquin, con diferente glosa Fo Inviolata, integra et casta es, Josquin Desprez, with different diminutions, first part 1 A. de Cabeçon ( ) Arrangement Arnold den Teuling
272 Cabezon / Josquin - Inviolata fo.134v.
273 30 Cabezon / Josquin - Inviolata
274 Cabezon / Josquin - Inviolata fo. 135
275 61 Cabezon / Josquin - Inviolata
276 Cabezon / Josquin - Inviolata 82 fo.135v. 88
277 94 Cabezon / Josquin - Inviolata
278 250 Cabezon / Josquin - Inviolata 109 fo
279 123 Cabezon / Josquin - Inviolata # 251 According to Petrucci's edition 1519: Motetti de la corona Liber quartus, nr. VI (in IMSLP), the tenors are a fuga in diapente, a canon on the fifth. The two tenors start in bar 19 and 25 in this first part. Josquin's original clefs in Petrucci's edition are C2 in this first part, C3, C4 (tenor), and F4. Cabeçon composed another set of glosas on the complete motet with a different disposition of the voices. Bar 19 Tenor II: c': error: no lengthening or rest sign in the subsequent bars, and does not fit in Josquin's canon in Inviolata, Tenor II starting in bar 25. Tenor I starts in bar 19. Bar 53 Tenor II: no lengthening or rest sign until bar 58; the canon requires rests, confirmed by comparison with Josquin's original. Bar 123 Superius n.3 # wrongly positioned, but c"sharp obviously meant.
280 Inviolata. Iusquin, con diferente glosa Fo Inviolata, integra et casta es, Josquin Desprez, with different diminutions, first part Treble Recorder Superius 5 1 A. de Cabeçon ( ) Arrangement Arnold den Teuling
281 2 79 Treble Recorder Superius #
282 Treble Recorder Tenor II 1 Inviolata. Iusquin, con diferente glosa Fo Inviolata, integra et casta es, Josquin Desprez, with different diminutions, first part A. de Cabeçon ( ) Arrangement Arnold den Teuling
283 2 120 Cabezon Treble Recorder / Josquin - Tenor Inviolata II
284 Tenor Recorder Tenor I 1 Inviolata. Iusquin, con diferente glosa Fo Inviolata, integra et casta es, Josquin Desprez, with different diminutions, first part 25 A. de Cabeçon ( ) Arrangement Arnold den Teuling
285 Inviolata. Iusquin, con diferente glosa Fo Inviolata, integra et casta es, Josquin Desprez, with different diminutions, first part Tenor Recorder Altus 20 1 A. de Cabeçon ( ) Arrangement Arnold den Teuling
286 Cabezon Tenor / Recorder Josquin - Altus Inviolata
287 Inviolata. Iusquin, con diferente glosa Fo Inviolata, integra et casta es, Josquin Desprez, with different diminutions, first part Bass Recorder Bassus 11 1 A. de Cabeçon ( ) Arrangement Arnold den Teuling
288 2 92 Cabezon Bass Recorder / Josquin Bassus - Inviolata
Antonio de Cabeçon. (Castrillo Mota de Judíos 1510 Madrid 1566)
Antonio de Cabeçon (Castrillo Mota de Judíos 1510 Madrid 1566) Comiençan los motetes de a cinco y canciones glosados Fol. 105-136 from : Obras de Musica para Tecla, Arpa y Vihuela Madrid 1578 First part:
Antonio de Cabeçon. (Castrillo Mota de Judíos 1510 Madrid 1566) 4 motets and 2 madrigals
Antonio de Cabeçon (Castrillo Mota de Judíos 1510 Madrid 1566) Comiençan las canciones glosadas y motetes a seys Fol. 159-184v. from : Obras de Musica para Tecla, Arpa y Vihuela Madrid 1578 4 motets and
Antonio de Cabeçon. (Castrillo Mota de Judíos 1510 Madrid 1566) 15 pieces in 4 voices and 3 pieces in 3 voices
Antonio de Cabeçon (Castrillo Mota de Judíos 1510 Madrid 1566) Comiençan las canciones glosadas y motetes a quatro Fol. 69 104 from : Obras de Musica para Tecla, Arpa y Vihuela Madrid 1578 15 pieces in
Antonio de Cabeçon. (Castrillo Mota de Judíos 1510 Madrid 1566)
Antonio de Cabeçon (Castrillo Mota de Judíos 1510 Madrid 1566) Comiençan las canciones glosadas y motetes de a cinco Fol. 16-158v. from : Obras de Musica para Tecla, Arpa y Vihuela Madrid 1578 Second part:
Credo Theory of Music training programme GRADE 4 By S. J. Cloete
- 56 - Credo Theory of Music training programme GRADE 4 By S. J. Cloete Sc.4 INDEX PAGE 1. Key signatures in the alto clef... 57 2. Major scales... 60 3. Harmonic minor scales... 61 4. Melodic minor scales...
Credo Theory of Music Training Programme GRADE 5 By S.J. Cloete
1 Credo Theory of Music Training Programme GRADE 5 By S.J. Cloete Tra. 5 INDEX PAGE 1. Transcription retaining the same pitch.... Transposition one octave up or down... 3. Change of key... 3 4. Transposition
CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER 9...
Contents Acknowledgements...ii Preface... iii CHAPTER 1... 1 Clefs, pitches and note values... 1 CHAPTER 2... 8 Time signatures... 8 CHAPTER 3... 15 Grouping... 15 CHAPTER 4... 28 Keys and key signatures...
Singing the Faith consolidated corrections music
1 Singing the Faith consolidated corrections music Most recent corrections Corrections to music notation incorporated in the third impression of the Music edition, June 2012, and the Organ edition, September
about Notation Basics Linus Metzler L i m e n e t L i n u s M e t z l e r W a t t s t r a s s e F r e i d o r f
about Notation Basics Linus Metzler L i m e n e t L i n u s M e t z l e r W a t t s t r a s s e 3 9 3 0 6 F r e i d o r f 0 7 4 5 5 9 5 0 7 9 5 2 8 7 4 2 0 6. 0 6. 2 0 0 2 Notation Basics subject: author:
The Practice Room. Learn to Sight Sing. Level 2. Rhythmic Reading Sight Singing Two Part Reading. 60 Examples
1 The Practice Room Learn to Sight Sing. Level 2 Rhythmic Reading Sight Singing Two Part Reading 60 Examples Copyright 2009-2012 The Practice Room http://thepracticeroom.net 2 Rhythmic Reading Two 20 Exercises
Grade Five. MyMusicTheory.com. Music Theory PREVIEW: Course, Exercises & Answers. (ABRSM Syllabus) BY VICTORIA WILLIAMS BA MUSIC
MyMusicTheory.com Grade Five Music Theory PREVIEW: Course, Exercises & Answers (ABRSM Syllabus) BY VICTORIA WILLIAMS BA MUSIC www.mymusictheory.com Published: 5th March 2015 1 This is a preview document
Developing Your Musicianship Lesson 1 Study Guide
Terms 1. Harmony - The study of chords, scales, and melodies. Harmony study includes the analysis of chord progressions to show important relationships between chords and the key a song is in. 2. Ear Training
and Bass Clef AND the other chords in the Key of C: Dm or ii, Em or iii, Am or vi, and Bdim or viidim. Check it out and see that the rule works!
First off, open up and print out the Two Clefs to One PDF file. You will be asked to fill in the names of the notes in each of the five sections shown. Got it printed? Is it at the side of your computer
Reading Music: Common Notation. By: Catherine Schmidt-Jones
Reading Music: Common Notation By: Catherine Schmidt-Jones Reading Music: Common Notation By: Catherine Schmidt-Jones Online: C O N N E X I O N S Rice University,
Introduction to capella 8
Introduction to capella 8 p Dear user, in eleven steps the following course makes you familiar with the basic functions of capella 8. This introduction addresses users who now start to work with capella
recording for example:
Martijn Hooning ANALYSIS CLASS ASSIGNMENT 4 / March 2013 The first two questions are about pieces by Josquin Desprez; we have seen both pieces partially during class. The scores of the pieces are in the
MUSIC THEORY CURRICULUM STANDARDS GRADES Students will sing, alone and with others, a varied repertoire of music.
MUSIC THEORY CURRICULUM STANDARDS GRADES 9-12 Content Standard 1.0 Singing Students will sing, alone and with others, a varied repertoire of music. The student will 1.1 Sing simple tonal melodies representing
Music Theory. Level 3. Printable Music Theory Books. A Fun Way to Learn Music Theory. Student s Name: Class:
A Fun Way to Learn Music Theory Printable Music Theory Books Music Theory Level 3 Student s Name: Class: American Language Version Printable Music Theory Books Level Three Published by The Fun Music Company
Northeast High School AP Music Theory Summer Work Answer Sheet
Chapter 1 - Musical Symbols Name: Northeast High School AP Music Theory Summer Work Answer Sheet http://john.steffa.net/intrototheory/introduction/chapterindex.html Page 11 1. From the list below, select
The Performing Pitch of William Byrd s Latin Liturgical Polyphony: A Guide for Historically Minded Interpreters
The Performing Pitch of William Byrd s Latin Liturgical Polyphony: A Guide for Historically Minded Interpreters Andrew Johnstone REA: A Journal of Religion, Education and the Arts, Issue 10, 'Sacred Music',
Clef Transposition. If I leave the notes precisely where they are on the staff, but change the clef sign to a bass clef, this is what happens:
Clef Transposition The technique of transposing by changing clef is probably the single best technique to master for the reading of orchestral scores, which typically demand the performance of multiple,
APPENDIX A: ERRATA TO SCORES OF THE PLAYER PIANO STUDIES
APPENDIX A: ERRATA TO SCORES OF THE PLAYER PIANO STUDIES Conlon Nancarrow s hand-written scores, while generally quite precise, contain numerous errors. Most commonly these are errors of omission (e.g.,
E Lesson Plan Day #1 Choir-Crowther
E Lesson Plan Day #1 Choir-Crowther Objective: To understand and learn about key signatures. Goals: You will learn how to find and identify various key signatures and be able to apply this knowledge to
The Practice Room. Learn to Sight Sing. Level 3. Rhythmic Reading Sight Singing Two Part Reading. 60 Examples
1 The Practice Room Learn to Sight Sing. Level 3 Rhythmic Reading Sight Singing Two Part Reading 60 Examples Copyright 2009-2012 The Practice Room http://thepracticeroom.net 2 Rhythmic Reading Three 20
Homework Booklet. Name: Date:
Homework Booklet Name: Homework 1: Note Names Music is written through symbols called notes. These notes are named after the first seven letters of the alphabet, A-G. Music notes are written on a five
Pitch and Keyboard. Can you think of some examples of pitched sound in music? Can you think some examples of non-pitched sound in music?
Pitch and Keyboard Music is a combination of sound and silence in time. There are two types of sound that are used in music: pitch, and non-pitched sound. Pitch- In music, pitch refers to sound with a
UMT - COMPLETE MUSIC THEORY COURSE FINAL EXAM - ADVANCED RUDIMENTS
Total Score: _ 0 Name: _ UMTS Number: 1. a) Name the following intervals. _ b) Invert the above intervals in the Treble Clef. Use whole notes. Name the inversions. _ c) Write the following harmonic intervals
Introduction to reading music
Reading Music Page 1 of 5 Learn To Sing Introduction to reading music Reading or understanding music is not difficult and anyone that has the ability to read the written word can learn to read music. We
Music Solo Performance
Music Solo Performance Aural and written examination October/November Introduction The Music Solo performance Aural and written examination (GA 3) will present a series of questions based on Unit 3 Outcome
ASD JHS CHOIR ADVANCED TERMS & SYMBOLS ADVANCED STUDY GUIDE Level 1 Be Able To Hear And Sing:
! ASD JHS CHOIR ADVANCED TERMS & SYMBOLS ADVANCED STUDY GUIDE Level 1 Be Able To Hear And Sing: Ascending DO-RE DO-MI DO-SOL MI-SOL DO-FA DO-LA RE - FA DO-TI DO-DO LA, - DO SOL. - DO Descending RE-DO MI-DO
2018 MUSIC Total marks : 70 Time : 3 hours
Total number of printed pages : 7 2018/XII/MS 2018 MUSIC Total marks : 70 Time : hours General instructions: i) Approximately 15 minutes is allotted to read the question paper and revise the answers. ii)
Music 3753 Chant Project Instructions
Music 3753 Chant Project Instructions The Chant Project is made up of six different, but related, composition assignments. Each assignment is worth 25 points. The final chant project portfolio is worth
The lines and spaces of the staff are given certain letter names when the treble clef is used.
TREBLE CLEF Name TREBLE CLEF The treble clef is used for notes of higher pitch. It is also called the G clef because the curl of the treble clef circles the G line on the treble staff. G The lines and
THE CHORAL SINGERS TOOLKIT
THE CHORAL SINGERS TOOLKIT A compact (but NOT totally comprehensive) guide for choral singers CONTENTS Page 2 Finding and Keeping Your Place in the Music 1 (High notes, low notes, the stave, lines and
ADVANCED STUDY GUIDE
Be Able to Hear and Sing DO RE DO MI DO FA DO SOL DO LA DO TI DO DO RE DO MI DO FA DO SOL DO LA DO TI DO DO DO MI FA MI SOL DO TI, DO LA, DO SOL, FA MI SOL MI TI, DO LA, DO SOL, DO Pitch SOLFEGE: do re
AP Music Theory Westhampton Beach High School Summer 2017 Review Sheet and Exercises
AP Music Theory esthampton Beach High School Summer 2017 Review Sheet and Exercises elcome to AP Music Theory! Our 2017-18 class is relatively small (only 8 students at this time), but you come from a
A Review of Fundamentals
Chapter 1 A Review of Fundamentals This chapter summarizes the most important principles of music fundamentals as presented in Finding The Right Pitch: A Guide To The Study Of Music Fundamentals. The creation
Study Guide. Solutions to Selected Exercises. Foundations of Music and Musicianship with CD-ROM. 2nd Edition. David Damschroder
Study Guide Solutions to Selected Exercises Foundations of Music and Musicianship with CD-ROM 2nd Edition by David Damschroder Solutions to Selected Exercises 1 CHAPTER 1 P1-4 Do exercises a-c. Remember
GRADUATE/ transfer THEORY PLACEMENT EXAM guide. Texas woman s university
2016-17 GRADUATE/ transfer THEORY PLACEMENT EXAM guide Texas woman s university 1 2016-17 GRADUATE/transferTHEORY PLACEMENTEXAMguide This guide is meant to help graduate and transfer students prepare for
Music Theory Courses - Piano Program
Music Theory Courses - Piano Program I was first introduced to the concept of flipped classroom learning when my son was in 5th grade. His math teacher, instead of assigning typical math worksheets as
Partimenti Pedagogy at the European American Musical Alliance, Derek Remeš
Partimenti Pedagogy at the European American Musical Alliance, 2009-2010 Derek Remeš The following document summarizes the method of teaching partimenti (basses et chants donnés) at the European American
Student Performance Q&A:
Student Performance Q&A: 2008 AP Music Theory Free-Response Questions The following comments on the 2008 free-response questions for AP Music Theory were written by the Chief Reader, Ken Stephenson of
Basics of Music Notation
Chapter Basics of Music Notation A Glimpse of History arly in the 11th century a Benedictine monk named Guido of Arezzo wished to assist his church choir in their singing of Gregorian chants. This led
2013 Assessment Report. Music Level 1
National Certificate of Educational Achievement 2013 Assessment Report Music Level 1 91093 Demonstrate aural and theoretical skills through transcription 91094 Demonstrate knowledge of conventions used
Music Theory. Level 2. Level 1. Printable Music Theory Books. A Fun Way to Learn Music Theory. Student s Name: Class:
A Fun Way to Learn Music Theory Printable Music Theory Books Music Theory Level 1 Level 2 Student s Name: Class: American Language Version Printable Music Theory Books Level Two Published by The Fun Music
Student Performance Q&A:
Student Performance Q&A: 2012 AP Music Theory Free-Response Questions The following comments on the 2012 free-response questions for AP Music Theory were written by the Chief Reader, Teresa Reed of the
Stabat Mater by Arvo Pärt
Stabat Mater by Arvo Pärt When Arvo Pärt sets words to music, he gives the impression of having entered into the depths of his chosen text and returned to the surface with an entirely fresh impression
Ultimate Music Theory Basic Rudiments
Ultimate Music Theory Basic Rudiments Basic Workbook and Basic Answer Book GPK-BWA $47 Basic Student Pack SPK-SPBR $69.99 SHOP NOW and Use the One Time Coupon Code: LessonPlans SAVE 25% OFF your Entire
AP Theory Overview:
AP Theory Overvie: 1. When you miss class, keep up ith assignments on our ebsite: http://saamusictheory.eebly.com/ 2. Take notes using our 'Note-taking paper', or buy: https://scoreclefnotes.com/buy/ 3.
1 Introduction to Pitch
Introduction to Pitch Sound Music is made of many different sounds combined together. In order to understand how to read music we need to understand how sound works at the fundamental level. Sound is created
2011 MUSICIANSHIP ATTACH SACE REGISTRATION NUMBER LABEL TO THIS BOX. Part 1: Theory, Aural Recognition, and Musical Techniques
External Examination 2011 2011 MUSICIANSHIP FOR OFFICE USE ONLY SUPERVISOR CHECK ATTACH SACE REGISTRATION NUMBER LABEL TO THIS BOX QUESTION BOOKLET 1 19 pages, 21 questions RE-MARKED Wednesday 16 November:
New Zealand Music Examinations Board
Available Marks 100 Total Marks Gained Entrant Name New Zealand Music Examinations Board T H E O R Y - F O U R T H G R A D E Time: 9.30am- 12.30pm Saturday 31 st October 2009 Time Allowed: 3 Hours Write
Celebrate Theory. Level 8 Worksheets
Celebrate Theory Level 8 Worksheets Contents Chords and Harmony... Pg. 3 Form and Analysis... Pg. 11 Intervals... Pg. 14 Keys and Scales... Pg. 20 Melody Writing and Composition... Pg. 23 Pitch and Notation...
Orchestration notes on Assignment 2 (woodwinds)
Orchestration notes on Assignment 2 (woodwinds) Introductory remarks All seven students submitted this assignment on time. Grades ranged from 91% to 100%, and the average grade was an unusually high 96%.
Authentic Bach Chorales? Part I
Authentic Bach Chorales? Part I The year 2015 marked an important anniversary for one of the long-standing topics at Music A-level, one that remains the most popular option by uptake across the A-level
Established Theory of Music Examinations Syllabus
The Leinster School of Music & Drama Established 1904 Theory of Music Examinations Syllabus Contents The Leinster School of Music & Drama 2 General Information & Examination Regulations 4 Preparatory Grade
The grand staff incorporates both treble and bass clefs with C in the middle.
Learning to read music (knowing the score) since you can already play Although one can certainly make a lot of music without learning to read musical notation, it will help you to use new resources if
Music Fundamentals 1: Pitch and Major Scales and Keys. Collection Editor: Terry B. Ewell
Music Fundamentals 1: Pitch and Major Scales and Keys Collection Editor: Terry B. Ewell Music Fundamentals 1: Pitch and Major Scales and Keys Collection Editor: Terry B. Ewell Authors: Terry B. Ewell
OpenStax-CNX module: m Clef * Catherine Schmidt-Jones. Treble Clef. Figure 1
OpenStax-CNX module: m10941 1 Clef * Catherine Schmidt-Jones This work is produced by OpenStax-CNX and licensed under the Creative Commons Attribution License 3.0 Abstract The clef symbol on a musical
Student Performance Q&A:
Student Performance Q&A: 2010 AP Music Theory Free-Response Questions The following comments on the 2010 free-response questions for AP Music Theory were written by the Chief Reader, Teresa Reed of the
2) Is it a Sharp or a Flat key? a. Flat key Go one Flat Further (use Blanket Explodes) b. Sharp key Go Down a Semitone (use Father Christmas)
SCALES Key Signatures 1) Is it Major or Minor? a. Minor find the relative major 2) Is it a Sharp or a Flat key? a. Flat key Go one Flat Further (use Blanket Explodes) b. Sharp key Go Down a Semitone (use
Basic Music Theory Resource Book and Worksheets, by Rodolfo Gonzalez, Ed. D., Basic Music Theory Resource Book And Worksheets PREVIEW
Basic Music Theory Resource Book And Worksheets By Rodolfo Gonzalez, Ed. D. 2017 1 Table of Contents I. Basic Music Theory Resource Book 1. Staff p. 4 2. Treble Clef p. 4 3. Bass Clef p. 4 4. The Grand
NAME: DATE: Music: Harmony. Music. Harmony
Music Harmony It is not necessary to carry out all the activities contained in this unit. Please see Teachers Notes for explanations, additional activities, and tips and suggestions. Theme All students:
Unit 1. π π π π π π. 0 π π π π π π π π π. . 0 ð Š ² ² / Melody 1A. Melodic Dictation: Scalewise (Conjunct Diatonic) Melodies
ben36754_un01.qxd 4/8/04 22:33 Page 1 { NAME DATE SECTION Unit 1 Melody 1A Melodic Dictation: Scalewise (Conjunct Diatonic) Melodies Before beginning the exercises in this section, sing the following sample
Understanding basic tonic chord structure and how the singer can find her note from the pitch blown
Understanding basic tonic chord structure and how the singer can find her note from the pitch blown The goal of the class is to help you find your starting note when the pitch is blown. There will be a
Assessment Schedule 2017 Music: Demonstrate knowledge of conventions used in music scores (91094)
NCEA Level 1 Music (91094) 2017 page 1 of 5 Assessment Schedule 2017 Music: Demonstrate knowledge of conventions used in music scores (91094) Assessment Criteria Demonstrating knowledge of conventions
Music Theory Courses - Piano Program
Music Theory Courses - Piano Program I was first introduced to the concept of flipped classroom learning when my son was in 5th grade. His math teacher, instead of assigning typical math worksheets as
African Music Research
Term 1 Rhythm For your homework task this term, you should complete the questionnaire task below, then choose one more of the tasks from the grid. The homework should be completed on plain or lined paper
BLUE VALLEY DISTRICT CURRICULUM & INSTRUCTION Music 9-12/Honors Music Theory
BLUE VALLEY DISTRICT CURRICULUM & INSTRUCTION Music 9-12/Honors Music Theory ORGANIZING THEME/TOPIC FOCUS STANDARDS FOCUS SKILLS UNIT 1: MUSICIANSHIP Time Frame: 2-3 Weeks STANDARDS Share music through
COURSE OUTLINE. Corequisites: None
COURSE OUTLINE MUS 105 Course Number Fundamentals of Music Theory Course title 3 2 lecture/2 lab Credits Hours Catalog description: Offers the student with no prior musical training an introduction to
EXPECTATIONS at the end of this unit. some children will not have made so much progress and will:
Y5 Mr Jennings' class Unit 17 Exploring rounds with voice and instruments ABOUT THE UNIT This unit develops children s ability to sing and play music in two (or more) parts. They develop their skills playing
Grade One. MyMusicTheory.com. Music Theory PREVIEW 1. Complete Course, Exercises & Answers 2. Thirty Grade One Tests.
MyMusicTheory.com Grade One Music Theory PREVIEW 1. Complete Course, Exercises & Answers 2. Thirty Grade One Tests (ABRSM Syllabus) BY VICTORIA WILLIAMS BA MUSIC www.mymusictheory.com Published: 1st March
Plainsong as Pre-composition: Josquin s Missa de Beata Virgine. Andrew Raiskums
Plainsong as Pre-composition: Josquin s Missa de Beata Virgine Andrew Raiskums The Missa de Beata Virgine, along with the Missa Sine Nomine and the Missa Pange Lingua form a great trilogy of Masses that
Lesson Two...6 Eighth notes, beam, flag, add notes F# an E, questions and answer phrases
Table of Contents Introduction Lesson One...1 Time and key signatures, staff, measures, bar lines, metrical rhythm, 4/4 meter, quarter, half and whole notes, musical alphabet, sharps, flats, and naturals,
Note Names and Values, and the story of The Great Stave
Note Names and Values, and the story of The Great Stave The Great Stave originally looked like this, and was diabolically difficult to read: Then along came a shrewd scholar who thought it would be easier
This is The Elements of Pitch:Sound, Symbol, and Tone, chapter 2 from the book Music Theory (index.html) (v. 1.0).
This is The Elements of Pitch:Sound, Symbol, and Tone, chapter 2 from the book Music Theory (index.html) (v. 1.0). This book is licensed under a Creative Commons by-nc-sa 3.0 (http://creativecommons.org/licenses/by-nc-sa/
Musical Literacy - Contents!
Musical Literacy - Contents! The Treble Clef Page 1! The Stave Page 2! Writing notes Page 3! Note Naming Page 4! Octaves Page 8! Crotchet/Minim/Semibreve Pages 9! Time Signature Page 11! Rests Page 13!
Ammerbach s 1583 Exercises
Ammerbach s 1583 Exercises In 1571 Ellas Ammerbach, organist at the Thomaskirche in Leipzig (where J.S. Bach was to arrive some 150 years later), published a miscellany of songs,dances and polyphonic vocal
Master s Thesis. Presented to. Master of Fine Arts in Musicology. Jackson N. Van Amburg. May 2015
In Ockeghem s Shadow: Early Settings of the Polyphonic Requiem Mass Master s Thesis Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Department of Music Seth Coluzzi,
BIBLIOGRAPHY APPENDIX...
Contents Acknowledgements...ii Preface... iii CHAPTER 1... 1 Pitch and rhythm... 1 CHAPTER 2... 10 Time signatures and grouping... 10 CHAPTER 3... 22 Keys... 22 CHAPTER... 31 Scales... 31 CHAPTER 5...
AP Music Theory Syllabus CHS Fine Arts Department
1 AP Music Theory Syllabus CHS Fine Arts Department Contact Information: Parents may contact me by phone, email or visiting the school. Teacher: Karen Moore Email Address: KarenL.Moore@ccsd.us Phone Number:
Preface. Ken Davies March 20, 2002 Gautier, Mississippi iii
Preface This book is for all who wanted to learn to read music but thought they couldn t and for all who still want to learn to read music but don t yet know they CAN! This book is a common sense approach
AH-8-SA-S-Mu3 Students will listen to and explore how changing different elements results in different musical effects
2007-2008 Pacing Guide DRAFT First Quarter 7 th GRADE GENERAL MUSIC Weeks Program of Studies 4.1 Core Content Essential Questions August 1-3 CHAMPS Why is Champs important to follow? List two Champs rules
Motets of DuFay and Josquin. The root of the motet is based in the sacred Latin texts of Gregorian chant and
Motets of DuFay and Josquin The root of the motet is based in the sacred Latin texts of Gregorian chant and was primarily a decoration of chant. In the early motet, the tenor sang original Gregorian chant
Grade Level Music Curriculum:
Grade Level Music Curriculum: All the grade levels will experience sing alone and with others, a diverse repertoire representing various cultures and styles (for example, folk songs, poems, play-party
Music Theory Fundamentals/AP Music Theory Syllabus. School Year:
Certificated Teacher: Desired Results: Music Theory Fundamentals/AP Music Theory Syllabus School Year: 2014-2015 Course Title : Music Theory Fundamentals/AP Music Theory Credit: one semester (.5) X two
Pitch: Sharp, Flat, and Natural Notes
Connexions module: m10943 1 Pitch: Sharp, Flat, and Natural Notes Catherine Schmidt-Jones This work is produced by The Connexions Project and licensed under the Creative Commons Attribution License Abstract
Florida Performing Fine Arts Assessment Item Specifications for Benchmarks in Course: Chorus 5 Honors
Task A/B/C/D Item Type Florida Performing Fine Arts Assessment Course Title: Chorus 5 Honors Course Number: 1303340 Abbreviated Title: CHORUS 5 HON Course Length: Year Course Level: 2 Credit: 1.0 Graduation
Staff With Bass Clef: A Student Manuscript Notebook From Fusello Publishing By Joe Dolan READ ONLINE
Staff With Bass Clef: A Student Manuscript Notebook From Fusello Publishing By Joe Dolan READ ONLINE If you are searched for the book by Joe Dolan Staff With Bass Clef: A Student Manuscript Notebook From
How to Use This Book and CD
How to Use This Book and CD This book is organized in two parts: Background and Basics and Modern Jazz Voicings. If you are a novice arranger, we recommend you work through the fundamental concepts in
Popular Music Theory Syllabus Guide
Popular Music Theory Syllabus Guide 2015-2018 www.rockschool.co.uk v1.0 Table of Contents 3 Introduction 6 Debut 9 Grade 1 12 Grade 2 15 Grade 3 18 Grade 4 21 Grade 5 24 Grade 6 27 Grade 7 30 Grade 8 33
AUSTRALIAN PIPE BAND COLLEGE PRELIMINARY DRUMMING SYLLABUS Written by Greg Bassani B.Ed., Dip.T., B.Tech., APBA Principal of Drumming, 2004.
AUSTRALIAN PIPE BAND COLLEGE PRELIMINARY DRUMMING SYLLABUS 2004 Written by Greg Bassani B.Ed., Dip.T., B.Tech., APBA Principal of Drumming, 2004. Version 1.0/2004 G:\APBC DRUMMING SYLLABUS 2004_Preliminary.doc
Music theory PART ONE
Music theory PART ONE STAVES Music lives on staves - a stave consists of 5 horizontal lines, and the spaces in between those lines. The position of notes on the lines or in the spaces, in conjunction with
OLS Original Lead Sheet CLS Completed Lead Sheet, also referred to as simply the LS CS Chord Sheet HS Hymn Sheet VS Vocal Sheet
Abbreviations OLS Original Lead Sheet CLS Completed Lead Sheet, also referred to as simply the LS CS Chord Sheet HS Hymn Sheet VS Vocal Sheet Published Product The publisher's printed product (the OLS)
Music Strands of Progression Strand A: Elements of Music. Year One Year Two Year Three Elements of Music
Music Strands of Progression Strand A: Year One Year Two Year Three Through participation, become familiar with some basic elements of music rhythm, melody, harmony, form, timbre, etc.). Recognise a steady
MUAR 211 Midterm I Prep. Dido and Aeneas Purcell Texture: imitative polyphony + homophony + word painting (homophonic) Genre: opera Language: English
Midterm 1 Listening Guide Columba aspexit Hildegard of Bingen Texture: monophonic throughout Genre: plainchant Language: Latin Performance: responsorially Form: AA BB MUAR 211 Midterm I Prep Dame, de qui
Leaving Certificate 2013
Coimisiún na Scrúduithe Stáit State Examinations Commission Leaving Certificate 03 Marking Scheme Music Higher Level Note to teachers and students on the use of published marking schemes Marking schemes
W.F. Bach: Concerto in F, F. 44
W.F. Bach: Concerto in F, F. 44 This work, arguably WFB's most impressive concerto, is preserved in three apograph manuscript sources: the score D B AmB 111 and the parts D Bsa SA 4271 and D B Mus. ms.
New Zealand Music Examinations Board
Available Marks 100 Total Marks Gained Entrant Name New Zealand Music Examinations Board T H E O R Y - F O U R T H G R A D E Time: 9.30am- 12.30pm Saturday 31st October 2015 Time Allowed: 3 Hours Write
Flexible Arranging & Composing. - a simple approach to harmony inspired by Renaissance musicians, and adapted for practical use today
Flexible Arranging & Composing - a simple approach to harmony inspired by Renaissance musicians, and adapted for practical use today by first edition 1981 revised second edition 2003 www.mrcd.nu k David