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 (zmagormisvile.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 #
English translations of all texts precede the piece.
The spine and layout allow for the easy making of copies, which is handy because copying and sharing of the music is permitted under Creative Commons license 3. As a busy choir director, who must manage a music program along with planning liturgies, buying music, maintaining a choral library, answering endless emails and doing everything by oneself including, at times, cleaning the choir loft!
I have found this book to be the answer to many prayers as it solves many problems related to running a parish choir. First - it contains almost everything a choir director, doing high quality sacred music, could want. Instead of copying scores ad nauseum or spending a lot of time ordering scores, you have everything you need right at hand.
If all choir members have a book, voila!
Second - It's beautiful typeset with lovely graphics. So, it's pleasant and friendly to look at - which is important. This choir book is also a wonderful tool for creating a repertoire - of which, each choir member can be proud.
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.
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.
The quality of the tiny part of his output which I know is consistently high, and often raises one to awareness of the Heavenly Presence.