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homofonia, monodia e monodia
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Bles - sed art
thou, O Lord,
teach me thy
sta - tutes.
The as -
sem - bly of
an - - -
gels was a -
mazed to
see thee
num - bered a -
mong the
dead, thou who
hadst de-stroyed the
might of
death, O
Sa - viour,
and who hast
raised up
A - dam with thy -
self, and
who hast
freedallmenfrom
ha - - - -
des.
Bles - sed art
thou, O Lord,
teach me thy
sta - tutes.
Why
do ye
min-gle myrrh with
tears of com -
pas - sion, O ye
wo - men dis -
ci - - - ples?
Evlogitaria, Plagal of Tone 1
The
ra - diant
an - gel
in the grave
ad - dressed the
myrrh - bear-ing
wo - men:
Be - hold the
grave and ex -
ult, for the
Sa - viour
hath a -
ris - en from the
sep - - - ul - - -
cher.
Bles - sed art
thou, O Lord,
teach me thy
sta - tutes.
At ear - ly
morn
the myrrh-bear-ers
has - tened
to thy sep - ul -
cher with lam - en -
ta - - tion;
but an an - gel
came to
them and said:
The time for
sor - row is
end - ed; weep no
more. And
Evlogitaria, Plagal of Tone 1 (page 2)
tell the A -
pos - tles of the
Re- sur-rec -
tion.
Bles - sed art
thou, O Lord,
teach me thy
sta - tutes.
The
myrrh - bear- ing
wo - - - -
men came with
myrrh un - to
thy tomb,
O
Sa - viour,
and they
heard an
an - - -
gel say - -
ing un -
to them:
Why do ye
count the Liv -
ing a - mong the
dead? For,
as God,
he is ris - en
from the
sep - ul -
cher.
Glo-ry to the
Fa - ther and
to the Son and
to the Ho - ly
Spi - rit.
Evlogitaria, Plagal of Tone 1 (page 3)
We
wor - ship the
Fa - - - -
ther and
his Son
and the
Ho - ly
Spi - rit,
the
Ho - - - - ly
Tri - ni -
ty,
One in
es - sence,
and we
cry out with the
Se - ra - phim:
Ho - ly, Ho -
ly,
Ho - ly art
thou, O
Lord.
Both
now and e -
ver and un - to
a - ges of
a - ges. A -
men.
By
giv - - -
ing
birth to the
Giv - er
of life,
O
Vir - gin,
thou didst
res - cue
A - dam from
sin
Evlogitaria, Plagal of Tone 1 (page 4)
and didst
grant Eve
joy in - stead of
sor - row;
for the God and
Man who was in -
car - nate of
thee gui - ded
back to life
him who had
fal - len there -
from.
Al - le -
lu - i - a,
Al - le - lu - i -
a, Al - le -
lu - - - i - a,
glo - - - ry to
thee, O God.
Al - le -
lu - i - a,
Al - le - lu - i -
a, Al - le -
lu - i -
a, glo -
ry to thee, O
God.
Evlogitaria, Plagal of Tone 1 (page 5)
V O
*
no -
bi -
lis -
si - - - -
V b ma
vi -
ri -
di - - - - -
tas,
quae
ra -
di - - -
V b cas
in
so - - - - - - -
le,
et
quae
in
can - - -
di -
V
V da
se -
re -
ni - - - -
ta -
te
lu -
ces
V in
ro -
ta,
quam
nul -
la
ter -
re - - -
na
ex -
cel -
len -
V ti - - - - - - - - - - - - - - - - - - -
V a
com -
pre -
hen -
dit,
tu
cir -
cum -
da -
ta
es
V am -
ple -
xi - - - - - -
bus
di -
vi - - - - - -
V
V no -
rum
my -
ste -
ri -
o - - -
rum.
Tu
ru -
bes
b V
ut
au -
ro -
ra
etar -
des
ut
so -
lis
flam - - - -b b
ma.
Item de virginibusHildegard von Bingen (1098-1179)
O nobilissima viriditas, quae radicas in sole,et quae in candida serenitate luces in rota,quam nulla terrena excellentia comprehendit,tu circumdata es amplexibus divinorum mysteriorum.Tu rubes ut aurora et ardes ut solis flamma.
O most noble Greenness, rooted in the sun,And who shines in bright serenity upon the wheel,Nothing on earth can comprehend you,You are encircled in the arms of divine mysteries.You are radiant as the dawn and burn as the flame of the sun.
Edited by Cheryl Lynn Helm, 2004
SPERGES ME DOMINE Ordinarium Missae In Dominicis ante horam tertiam ( si canta, prima della Messa ambrosiana allaspersione dellacqua - fuori dal tempo Pasquale nel Tempo Pasquale si canta il Vidi aquam ) Ps. 50: Miserere mei Deus
Intonazione consigliata: dalla nota La
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v gh ggggffffffj]ggfffbggh cggh cgg gfgh ggbgg/gg/gffff/gg/gg/gffffg/gggFgfg/ggf/ggfffffff/ggffffff/ggfffffff/ggffffffffgffffffH ni-vem de- al-ba-bor Ps.50: Mi-se-re-re me -i De-us * se-cun-dum ma-gnam Hv fffff/ffffffff/gfg/gg/gffffff]gg/ggfffffffbgfffgh cgggggh ggbgfffffffgfffffggJh gH mi--se-ri- cor-di-am Tu-am A-sper-ges me ..
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Abbi pieta di me o Dio, secondo la Tua grande misericordia.
Trascrizione al computer con font meinrad a ( Abbazia di St Meinrad Indiana ) di Giovanni Vianini Milano, SCHOLA GREGORIANA MEDIOLANENSIS, anno 2002 Servizio liturgico: Basilica di S. Marco, Milano Abbazia di Chiaravalle, Milano 02 70.104.245 [email protected] www.cantoambrosiano.com
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Bles - sed is
he that
com - eth in the
name of the
Lord.
God is the
Lord and hath ap -
peared un - to
us.
Blessed is he that cometh, Tone 1
DEACON: With fear of God and faith and love, draw near.
I
G
1, 1z:.
-
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#
- Y.
&
V
V
?
b
b
b
b
C
C
C
C
Superius
Contratenor
Tenor
Bassus
En en - trant en
En en - trant en
ung jar - din
ung jar - din
j'ai trou - ve Guil -
j'ai trou - ve Guil -
lot Mar - tin a -
lot Mar - tin a -
&
V
V
?
b
b
b
b
S
C
T
B
5
vec He - lai -
.
j
vec He - lai -
ne qui de -
ne qui de -
man - doit au ma -
man - doit au ma -
tin son pi - co -
tin son pi - co -
tin, son beau
tin, son beau
&
V
V
?
b
b
b
b
S
C
T
B
10
pe - tit pi - co -
pe - tit pi - co -
.
j
tin non pas d'a -
tin non pas d'a -
A
#
w
U
vai - ne
w
U
w
U
vai - ne
w
U
A donc
A donc
Guil - lot luy a
Guil - lot luy a
Copyright 2001 by ARENA (http://arenai.free.fr)
En entrant en ung jardinClaudin de Sermisy (C.1490-1562)Texte de Clment Marot
Trente et une chansons musicales 4 parties (fol.6v) - Attaingnant, 1529
B
bC
B b C
B b C
?
bC
&
V
V
?
b
b
b
b
S
C
T
B
15
dit, a donc
A
dit, a donc
Guil - lot luy a
(*)
Guil - lot luy a
dit Vous au -
dit Vous au -
rez bien ce cre -
rez bien ce cre -
dit, vous au -
A
dit, vous au -
&
V
V
?
b
b
b
b
S
C
T
B
20
rez bien ce cre -
(*)
rez bien ce cre -
dit quand je
dit quand je
se - ray en a -
se - ray en a -
lai - ne mais n'en
lai - ne mais n'en
pre - nes qu'ung pe -
pre - nes qu'ung pe -
A
&
V
V
?
b
b
b
b
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
S
C
T
B
25
tit car par
A
tit car par
trop grant ap - pe -
trop grant ap - pe -
tit
tit
vient
vient
b
sou - vent la
sou - vent la
A
a
#
pan - ce plai -
pan - ce plai -
ne.
N
ne.
- 2 -
Copyright 2001 by ARENA (http://arenai.free.fr)
(*) The editor's mistake or a voluntary dissonance? Most modern editors have modified these two measures.They usually indicate: B, A, G, F for the superius part, and F, F, D, D for the contratenor part (measures 16 & 20).
(*) Erreur de l'diteur ou dissonance volontaire ? La plupart des ditions modernes ont modifi ce passage pour sauver la consonance,en notant Si, La, Sol, Fa au superius et Fa, Fa, R, R au Contratenor (mesures 16 & 20).
1
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