Rejoice in the Lord always

Transcription

1 Reoice alays Edited by ason Smart Anon (16th cent) Soprano Al Tenor Re - oice Re - oice al - ays, al - Bass Keyboard (for rehearsal only) a-ga - ays, a - say re - ga say re - oice, oice, re - oice al - Re - oice al - ays, a - Re - oice al - ays, ason Smart 01

2 9 re - oice al- ay, a-ga - ay, a-ga say re- oice, re - oice al - ay, a - ga - ga say a-ga re- oice, say re- oice, re - oice re - oice al - ay, al - ay, a-ga a - 15 say re - oice, re - oice al - ay, say re - oice, re - oice al ay, - ga say re - oice, re - oice al - ay, al - ay, say re - oice, re - oice al - ay,

3 0 a - ga say re- oice, a-ga say re - a-ga say re - oice a - ga say re - a - ga, a - ga say re- oice, a - ga say a-ga say re- oice, a-ga say re - oice, a - ga 5 # # - oice Let your st - ness be knon un - men, let your st - n - oice Let your st - ness be knon un - n men, let your st - n re - oice Let your st - ness be knon un - n men, let your st - say re - oice Let your st - ness be knon un - # men, # let your st - n

4 1 - ness be knon n men: is even at - ness be knon men: is even at h, - ness be knon men: is even at h, is - ness be knon n men: is even at h, 7 h is even at h Be Be care - ful care - ful for no - for no - even at h Be care - ful for no - is even at h Be care - ful for no -

5 # - thg, but pray - er sup - pli - ca - ti - on - thg, but pray - er sup - pli-ca - ti - on - thg, but pray - er sup - pli - ca - ti - on let - thg, but # pray - er sup - pli - ca - ti - on let your pe - 7 let your pe - ti - ti - n ons let your pe - ti - ti-ons, let your pe - ti - ti - ons your pe - ti - ti - ons, let your pe - ti - ti-ons be ma - ni-fest God, be b - ti - ti-ons, let your pe - ti - ti - ons n be ma - ni - fest b

6 5 be ma - ni - fest God ith gi - b vg be ma - ni-fest God ith gi - vg ma - ni - fest un - God ith gi - vg thanks, be God, un - ma - ni-fest God ith God ith b gi - vg gi - vg 57 thanks, n ith thanks, ith gi - gi - vg n vg thanks thanks And And peace peace God God hich thanks, ith gi - vg thanks thanks, ith gi - n vg n thanks And

7 6 n hich pass-eth pass - eth un - un - der - der-stan stan - dg, un - der - dg stan - dg And peace God hich pass- eth un - der - stan - dg keep your hearts peace God hich pass-eth un - der - n stan-dg keep your ẇ hearts mds 68 keep your hearts mds Christ e - keep your hearts mds Christ e - mds Christ e - Christ e - keep your Christ e - Christ e keep your hearts

8 7 - keep your hearts mds Christ e - n keep your hearts mds Christ e - Christ hearts mds Christ e - Christ e - mds Christ e - Christ e - n 77 Christ e - e - su Christ e - su A A su A men, A men, A men, A b men men men Christ e - su A men, A - b men

9 Edirial Note This anm survives only as an arrangement for keyboard manuscript knon as The Muller Book, so ced after its compiler, Thomas Muller, ho as a clerk organ player at Corpus Christi College, Oxford, from 156/ 1565 probably Muller ho as a clerk at Magdalen College, Oxford, Muller gives no composer s name no text beyond title, but music fits ords Epistle for fourth Sunday Advent first Book Common Prayer (159) The vocal parts this edition have been reconstructed from Muller s score, a transcription hich is provided for comparative purposes For rehearsal purposes Muller s arrangement may be used as an accompaniment, but re is no reason thk that this as its origal purpose The Muller Book is not a liturgical manuscript, but a diverse collection music for private use, cludg teachg, comprisg origal keyboard music (both liturgical secular), keyboard arrangements vocal strumental music, some music for cittern gittern a short song for four voices n his A General Hisry Science Practice Music (1776), ohn Haks published several extracts from The Muller Book These clude a reconstruction this anm, hich Haks attributed ithout explanation ohn Redford The Muller Book contas more music by Redford than by anyone else perhaps this is hy Haks assumed that this ork, o, as his Neverless he as mistaken When Redford died 157 first experiments ith vernacular church services had barely begun it ould be anor years before first Book Common Prayer as published Although text had appeared previously Great Bible 150 passage as not one that had any significance Lat services There as no reason hy a composer should have sgled it out before it as brought promence 159 Prayer Book Redford s survivg choral compositions (both Lat texts) are very different this anm, beg an earlier, more elaborate, less tautly imitative style Critical Commentary Source British Library, Add MS 051 (early 1560s), f69v Edirial Method As mentioned above, vocal parts have been reconstructed from keyboard score text supplied from Book Common Prayer, 159 n keyboard part, edirial accidentals are placed above or belo notes concerned rema operative out bar Rests added ediriy are prted beteen square brackets Notes on Readgs Source Bar 1 beteen staves: Reioyce e ayes (sic) Muller s h Bar 16 right h: F is G Bars right h has an extra mim rest ith subsequent misalignment notes until bar 8 Bar 51 right h: extra semibreve rests