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MISSA PACEM
3. Kyrie8. Gloria23. Credo36. Sanctus46. Agnus Dei
Music byMarc A. HafsoFor Peru
sal O
nly
Marc A. Hafso is Professor and Director of Choral Activities at Whitworth University in Spokane, Washington. He attended Pacific Lutheran University, the University of Arizona and Michigan State University, where he earned B.A., M.M., and D.M.A. degrees in music education and choral conducting. Hafso has gained experience at all levels of choral music education through elementary, secondary and university teaching positions in the United States and Canada. He came to Whitworth from Augustana University in Alberta where he taught for sixteen years and directed a nationally recognized choral program.
Hafso is the recipient of numerous honors and awards recognizing his teaching, creative work, service and conducting including Augustana’s Betty Ostenrud Award, a Pacific Lutheran Centennial Alumni Recognition Award, a Government of Alberta Achievement Award, an Alberta Choral Federation Con Spirito Award, the 1994 Sir Ernest MacMillan Memorial Prize in Conducting from the Toronto Mendelssohn Choir Foundation and major grants from The Canada Council and the Alberta Heritage Scholarship Fund.
In Canada, Hafso served regional and national choral communitites as an active member of the boards of Alberta Choral Federation and the Association of Canadian Choral Conductors. He also served as music director and resource person for national worship events of the Lutheran Church (ELCIC). Currently, he is President of the Washington State chapter of the American Choral Directors Association. Hafso is active in the US and Canada as a guest conductor, clinician, and adjudicator. He is the always-proud parent to three daughters and a son.
After a number of years as Professor of Choral Music and Conductor of the Chamber Choir at Florida State University, Rodney Eichenberger has reduced his teaching responsibilities there, but maintains a busy professional schedule elsewhere. He has conducted more than 75 US All State Choirs and guest conducted or lectured at more than 80 US, Australian, and New Zealand Universities. Recent international appearances include guest conducting the Pusan, Korea City Choir and Korean National Chorus in Seoul, International High School Honor Choirs in Tokyo and Berlin, and leading conducting workshops in Argentina, Brazil, France, Norway, Sweden, Scotland, Austria, Korea, Australia, and New Zealand. His instructional videos on Choral Conducting, “What They See Is What You Get” and “Enhancing Musicality Through Movement” are widely used in collegiate conducting classes. A graduate of St. Olaf College with advanced study at the Universities of Denver, Washington, and Iowa, he taught at the University of Washington and the University of Southern California prior to his appointment at Florida State University. For
Perusa
l Only
A
"Kyrie" based on the hymn tuneVater Unser: V. Schumann,Geistlichelieder, 1539
for SATB Chorus with Piano and Optional Percussion†Missa Pacem
Music byMarc A. Hafso
Copyright © 2009 Colla Voce Music, Inc.4600 Sunset Ave., #83, Indianapolis, IN 46208
International Copyright Secured Made In USA All Rights Reservedwww.collavoce.com
Kyrie
for my parents, Gordon and Ardis Hafso
SAB Chorus with Optional Handbell
Handbell(optional)
l.v.
All voices
In the manner of Plainchant*
Ky
unis.
ri- e
-
e le
-
i- - son.
-
B
B
Not in strict time ( q = c. 50 )
Not in strict time ( q = c. 50 )
Ky(melody)
pten.
ri- e
- e le
- i- son,
-
e le
-
i
- - son,
-
Ky
p
ri
- - e-
e
le-
i
- - son,
-
Ky
p
ri
- - e-
e
le-
i
- - son,
-
*Vocal quality should be uniform and light. It should be understood that not all women may be able to sing the monophonic chants (especially Kyrie I & II). Women singing the chants should avoid pushing the chest-voice.Men are encouraged to sing the chants in head-voice.
†Optional percussion parts available from publisher (39-20128A).
3
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C
C
Ky ri
- e_e- le
-
i- son,
-
e
dim. e rit.
le-
i- - - son.
-
Ky
ri
- e_e
- lei
- son
-
dim. e rit.
e
le-
i- - son.
-
Ky
ri
- e_e
- lei
- son
-
dim. e rit.
e
le
- i- - son.
-
rit.
D
l.v.
as Plainchant
Chri
ste- e le
-
i- - - - - son.
-
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E
E
Tempo I
Chri
mp
ste_e
- lei
- son,
-
e
le
- i
- son;
-
Chri
mp
ste_e
- lei
- son,
-
e
le
- i
- son;
-
Chri(melody)
mp
ste
- e le
-
i- son,
-
e
le-
i- - - son;
-
F
F
Chri ste
- e
lei
- son,
-
e le
-
i- son.
-
Chri
ste-
e
lei-
son,-
e le
-
i- son.
-
Chri ste
- e le
- i
- son,
- e
le-
i- - son.
-
5
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G
l.v.
as Plainchant
Ky
ri- e
-
e
le
-
i- - son.
-
H
H
Tempo I
Ky
mf
ri
- e_e- le
- i- son,
-
e
le
- i
- son.
-
Ky(melody)
mf
ri- e
- e le
- i- son,
- e le
-
i
- - - son.
-
Ky
mf
ri
- e_e- le
- i- son,
-
e
le
- i
- son.
-
6
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I
I
Ky ri- e
- e le
- i- son,
-
dim. e rit.
e
le
- i- son.
-
Ky
ri- e
- e le
- i- son,
- e
le-
i- - - son.
-
Ky ri- e
- e le
- i- son,
-
e
le
- i- son.
-
rit.
Ky
ri- e
-
e le
-
i- - - son.
-
Chris
ste- e le
-
i- - - - - - - son.
-
Ky
ri- e
-
e
le
-
i
- - son.
-
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With a joyful spirit q = c. 144 (q. = 96 )
With a joyful spirit q = c. 144 (q. = 96 )
for Soloist, SATB Chorus, Piano, and Optional Percussion*
Music byMarc A. Hafso
Gloriafor Kyrsten, Kristofer, Siri, and Lise
Glo
Solo
f
ri- a- in
ex cel
- sis
- De
e = e sempre
o!
- Glo ri- a- in
ex cel
- sis!-
Piano (rehearsal only)
e = e sempre
5
Glo ri- a- in
ex cel
- sis
- De
o!
- Et
in ter
ra- pax.
*Gloria is also available separately (39-20130).
Low Drum
Triangle
3
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9
Glo
SA
mf unis.
ri- a- in
ex cel
- sis
- De
o!
- Glo ri- a- in
ex cel
- sis!-
TB
mf unis.
mf
3
13
Solo
Pax ho
-
Glo
SA
ri- a- in
ex cel
- sis
- De
o!
- Et
in ter
ra- pax.
TB
(stopped)
(stopped)
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17
mi ni- bus- bo
nae- vo
lun- ta
- tis
-
vo lu
- -
Pax ho mi
- ni- bus- bo
nae- vo
lun- ta
- tis
-
(stopped)
(stopped)
21
ta
tis!
-
div.
Lau
da
- mus
-
te.
Be
ne
- di
- ci
- mus
- -
div.
lightly and playfully
10
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25
te.
A
do
- ra
- mus
- te.
Glo
ri- fi- ca
- mus
- te.
Gra
ti
- as
-
29
a
gi
- mus
- ti
bi
- prop
ter
- ma
gnam
-
glo
ri
- am
-
11
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33
tu
am.
- Glo
ri-
a!
-
Glo
mf unis.
ri- a- in
ex
-
mf unis.
mf
(open)
(open)
37
cel
sis
- De
o!
- Glo ri- a- in
ex cel
- sis!-
Glo ri- a- in
ex
-
3
12
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41
Do
mp
mi- ne
- De
us,-
cel
sis
- De
o!
- Et
in ter
ra- pax.
Rex
p
coe
-
p
p
(stopped)
(stopped)
p
45
De
us- Pa
ter
-
Do mi- ne
- fi
li-
les
tis.-
om ni
- po- tens.
-
u ni-
-
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49
Je
mp poco a poco cresc.
su- Chri
ste.-
Ag
nus- De
i,-
ge ni- te,
-
Do mi- ne- De
us,
-
mp poco a poco cresc.
mp poco a poco cresc.
53
Fi
li
- us
- Pa
tris.
-
Fi
div.
(Fi - )
li
- us
- Pa
tris.
- Glo
f
ri- a- in
ex cel
- sis
- De
o!
-
div.
(Fi - )
f
f
pp
f
14
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57
Glo ri- a- in
ex cel
- sis!-
Glo ri- a- in
ex cel
- sis
- De
o!
-
f
f
61
Et
in te
ra- pax.
Qui
mf legato
tol
lis- pec ca
- ta
- mun
di,
-
mf legato
mf
15
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64
mi
mp
se- re
- re
- no
bis.
-
Qui
mf
tol
lis- pec ca
- ta
- mun
di,
-
mp
sus
ci
- pe
3
- de
mp
pre- ca
- ti- o
- nem- no
stram
-
Qui
mf
mp
mf
mp
3 mp
mf
mp
mf
mp
mp
mp
67
se
des- as dex
te
- ram
3
- Pa
tris,
-
mi
mp
se- re
- re
- no
bis.
-
mi
dim. e rit.
se- re
- re
- no
bis.
-
3
mp
dim. e rit.
mf
dim. e rit.
dim. e rit.
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70
mi
molto rit.
se- re
- re
- no
bis.
-
Glo
a tempo
ri- a
pp
-
Glo
in
ri
ex
- a!
cel
-
- sis
- De
o!
-
Glo
ri- a
pp
-
Glo
in
ri
ex
- a!
cel
-
- sis
- De
o!
-
molto rit.
mp a tempo
molto rit.
73
Glo
ri- a-
Glo
in
ri
ex
- a!
cel
-
- sis!-
Glo
ri- a-
Glo
in
ri
ex
- a!
cel
-
- sis
- De
o!
-
Glo
ri- a-
Glo
in
ri
ex
- a!
cel
-
- sis!-
Glo
ri- a-
Glo
in
ri
ex
- a!
cel
-
- sis
- De
o!
-
17
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77
Quo
mp
ni- am-
tu so
lus- san
ctus-
Glo
Et
in
ri
ter
-
ra-
a!
pax.
-
tu
p unis.
so
lus- san
ctus-
Glo
Et
in
ri
ter
-
ra-
a!
pax.
-
p unis.
p
p
81
Tu so lus- Do
mi- nus.
- Tu so
lus-
Al ti
- si- mus,
-
Do mi- nus.
-
Al ti
- si- mus,
-
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85
Je
su- Chri
ste,- Je
su- Chri
ste.-
Cum
poco a poco cresc.
San
cto- Spi
ri- tu,
- in
Je su- Chri
ste.-
mp poco a poco cresc.
Cum
San
cto-
div.
Spi
ri- tu,
- in
mp poco a poco cresc.
div.
mp poco a poco cresc.
p
mp poco a poco cresc.
89
glo ri- a- De
i- Pa
f
tris,
-
Glo r'a- De
i- Pa tris!
-
glo ri- a- De
i- Pa
f
tris,
-
Glo r'a- De
i- Pa tris!
-
Glo
f
ri- a- in
ex
-
f
f
f
f
f
19
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93
cel
sis
- De
o!
- Glo ri- a- in
ex cel
- sis!-
Glo ri- a- in
ex
-
3
97
Descant(a few Sopranos)
Glo
ff
ri-
-
cel
sis
- De
o!
- Et
in ter
ra- pax.
Glo
ff unis.
ri- a- in
ex
-
ff unis.
ff
(stopped)
(stopped)
ff
20
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101
a!
Glo ri- a!
-
Glo ri-
-
cel
sis
- De
o!
- Glo ri- a- in
ex cel
- sis!-
Glo ri- a- in
ex
-
3
105
a!
A
men!-
A
men!-
A
men.
-
cel
sis
- De
o!
-
div.
A
men!-
A
men!-
A
men.
-
div.
21
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109
A
men!
- -
mf
A
ff
men!
- - - -
A
men!
- -
mf
A
ff
men!
- - - -
mf
mf
ff
ff
ff
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CredoMusic by
Marc A. Hafso
In memory ofteacher and mentor
Dr. Maurice H. Skones
for SATB Chorus, a cappella
Cre
Male solosung at pitch
In the manner of Plainchant
do- in u
num- De
um.
- Cre
SATB sung at pitch*mp
do- in u
num- De
(last time only)
um.
-
Espressivo ( q = c. 54 )
Espressivo ( q = c. 54 )
3
Cre
mf
do
-
in u
num- De
um.
-
Pa
trem
-
om ni
- po- ten
- tem,
-
fac
e = e
-
Cre
mf
do
-
in u
num- De
um.
-
Pa
trem
-
om ni
- po- ten
- tem,
-
fac -
Cre
mf
do
-
in u
num- De
um.
-
Pa
trem
-
om ni
- po- ten
- tem,
-
fac -
Cre
mf
do
-
in u
num- De
um.
-
Pa
trem
-
om ni
- po- ten
- tem,
-
fac
-
for rehearsal only
*Singers enter indepentdently and repeat ad lib. On conductor's cue, singers provide one additional repetition of phrase,then sustain final pitch. Men are encouraged to sing chant in head-voice. Women should avoid pushing the chest-voice.Overall dynamic shape of repeated section should be:
To ensure proper balance of parts, in some passages, traditional SATB I + II assignments may need to be re-voiced:High, Medium, Low.
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to
(2+3+2+2)
a little faster
rem- coe
li- et ter
rae,- vi
si-
e = e
bi
- li- um
- om ni- um,
- et
morendo senza rit.
*
in vi- si- bi
- li- um,-
*
a little faster
morendo senza rit.
10( q = c. 88 )
( q = c. 88 )
et in vi- si- bi
- li- um,- et
in vi- si- bi
- li- um.-
(unis.)
Et
mf
in u
num- Do
mi- num-
15
Je sum- Chri
stum,
- Fi li- um- De
i- un
rit.
i- gen
i- tum.
-
mf
Et
a tempo
ex
(unis.) mf
rit.
a tempo
*Singers move independently from singing to whispering the text through the three "et invisibilium" statements.
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18
Pa tre- na
tum- an te- om
ni- a- sae
cu- la.
- De um- de De
div.
o,-
div.
21
Slower, broadly ( q = c. 72 )
Slower, broadly ( q = c. 72 )
lu
(3+2+2+2)
men- de lu
mi- ne,
-
De
f
um
- ve
rum
-
de De
poco rit.
o
- ve
ro.
-
f
poco rit.
25
Ge
mpa tempo
ne- tum,
- non fac
tum,
- con
sub- stan
- ti- a
- lem
- Pa
tri:
-
per quem
Ge
mp
ni
- tum,
- a
lem
- - - Pa
tri:
-
per quem
a tempo
25
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28Simply ( q = c. 72 )
Simply ( q = c. 72 )
om
ni- a
- fac
rit.
ta
- sunt.
p mp
Qui
mp
pro
pro
pter
pter
-
-
nos ho
ho
mi
mi
-
-
nes,
nes,
-
-
et
et pro
pter
- no
stram- sa
-
rit.
p
mp
rit.
32
lu
tem- des cen
- dit- de cae
lis.
-
mp
Et
in car- na
- tus- est
de Spr
ri- tu- San
cto
-
mp
36
ex
Ma
ri
- a
- Vir
gi
- ne.
-
Et
dim. et rit.
ho
mo
- fac
tus
- est.
p
dim. et rit.
p
rit.
26
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Darkly ( q = c. 60 )*
Darkly ( q = c. 60 )*
40
Cru
Cru
mp
p
ci
ci
-
-
fi
fi
-
-
xus,
xus,
-
-
et
Cru
poco a poco cresc.
i- am
ci
-
- pro no
fi
-
bis
xus,
-
-
sub Pon
Cru
ti- o
ci
-
- Pi la
fi
-
- to:
xus,
-
-
pas
sus,
- pas
sus
-
Cru
Cru
mp
p
ci
ci
-
-
fi
fi
-
-
xus,
xus,
-
-
et
Cru
i- am
ci
-
- pro no
fi
-
bis
xus,
-
-
sub Pon
Cru
ti- o
ci
-
- Pi la
fi
-
- to:
xus,
-
-
44
Hushed, with great excitement ( q = c. 144 )
Hushed, with great excitement ( q = c. 144 )
et
dim. et rit.
se
(se)pul
- tus
- est.
p
mp
Et re
sur- rex
- it- ter
ti- a- Di
e,- se
-
dim. et rit.
(se)
p
48
cun
dum- scrip
tu- ras.
-
Et
mf
re
sur- rex
- it- ter
ti- a- Di
e,- se cun
dum- scrip
tu- ras.
-Et
mf
*The Soprano and Tenor lines must predominate through m. 42. Reinforce with additional Altos and Baritones if necessary.
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51
re sur- rex
- it- ter
ti- a- Di
e,- se cun
- dum- scrip
tu- ras.
mp
-
Et
as
cen
- dit- in cae
lum:- se
det- ad dex
te- ram-
54
Pamf
tris.
-
Et
mf
as cen
- dit- in cae
lum:- se
det- ad dex
te- ram- Pa
f
tris.
-
Et
p
mf
f
p
57
i
te
- rum
- ven
tu
- rus
- est
cum
glo
ff
ri
- a,
-
Et
f
ff
f
28
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59
i
te
- rum
- ven
tu
- rus
- est
cum
glo
ri
- a,
-
ju
mf
*
di
- -
mf
*
61
ca
re
- vi
vos
- et
3
mor
tu
- os
-
cu
jus
- reg
ni
- non
3
e
rit
- fi
nis,
mp �
-
†
cu jus-
3
3
mp
†
3
3
3
3
64
reg
morendo senza rit.(3+2+2+2)
ni- non e
rit- fi
nis,- cu
jus- reg
ni- non e
rit- fi
nis,- cu
jus- reg
ni- non e
rit- fi
nis,-
morendo senza rit.
*Alto and Bass lines must predominate through m. 62. †Singers move independently from singing to whispering the text through the three "cujus..." statements.
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Calmly, smoothly ( q = c. 84 )
Calmly, smoothly ( q = c. 84 )
67
Et
mf
in Spi
ri- tum
-
Sanc
Sanc
tum
-
tum
- Do
Do
mi
-
mi
- num,
num
-
-
et
mf
72
vi
vi
vi
vi
-
-
fi
fi
-
-
can
can
-
-
tem:
tem:
- -
- -
qui
ex
Pa
Pa
tre,
tre,
-
- Fi
li-
-
Fi li-
-
77
o
que
pro
ce
-
dit.
- -
Spi
ri
- tum
-
Sanc
-
o
o
que
que
pro
pro
ce*
ce
-
-
dit.
- -
Spi
ri
Spi
- -
ri
- tum
-
tum
- -
Sanc
-
*Final syllable has been omitted purposefully.
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82
tum
mf
Qui
cum
mf
Pa
Pa
tre,
tre,
-
-
et
et
fi
fi
li
-
li
- o
o
-
- sipoco piú mosso
mul- a
do-
-
tum
mf
Pa
tre
- et
fi
li
- o
-
poco piú mosso
87
ra
ra
tur
tur
-
-
et
et
glo
ri
- fi
- ca
-
tur:
- - qui
lo
cu
- tus- est
per
Pro
-
92
phe
tas.
- -Spi
Spi
ri
ri
-
- tum
tum
-
-
Sanc
poco a poco dim. et rit.
tum
-
Spi
Spi
ri
-
ri
- tum
-
tum
- -
Sanc
tum
-
rit.
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97 Chant-like ( q = c. 72 )
Chant-like ( q = c. 72 )
Spi
molto rit.
ri
- tum
-
Sanc
p
tum
-
mp
Et
Et
Spi
Spi
ri
- -
ri
- tum
-
tum
- - -
Sanc
ptum
-
mpEt
Et
molto rit.
101
u
(2+3+2+3)
nam,- sanc
tam,- ca tho
- li- cam
- et a
po- sto
- li- cam
rit.
- Ec cle
- si- am.
-
a tempo
Con fi
- te- or- u
(3+2+2+2)
nam- bap tis
- ma
-
u nam,- sanc
tam,- ca tho
- li- cam.
-
rit.
a tempo
Con fi
- te- or- u
nam- bap tis
- ma
- in re-
u nam,- sanc
tam,- ca tho
- li- cam
- et a
po- sto
- li- cam
rit.
- Ec cle
- si- am.
-
a tempo
Con fi
- te- or- u
nam- bap tis
- ma
-
u nam,- sanc
tam,- ca tho
- li- cam.
-
rit.
a tempo
Con fi
- te- or- u
nam- bap tis
- ma
-
(2+3+2+3)
a tempo
(3+2+2+2)
rit.
32
For Peru
sal O
nly
105
in re mis
- si- o
- nem- pec
ca- to
-
rum.
-
inin re mis
- si- o
- nem-
mis si- o
- nem- pec
ca- to
-
rum.
- -
in re mis
- si- o
- nem- pec
ca- to
-
-
in re mis
- si- o
- nem- pec
ca- to
-
rum.
-
in re mis
- si- o
- nem- pec
ca-
-
in re mis
- si- o
- nem- pec
ca- to
-
rum.
- -
in re mis
- si-
-
108
pec ca- to
-
rum.
-
inin re mis
- si- o
- nem- pec
ca- to
-
rit.
rum.
-
rum.
-
in re mis
- si- o
- nem- pec
ca- to
-
rum.
- -
rit.
to
rum.
-
in re mis
- si- o
- nem- pec
ca- to
-
rum.
rit.
-
o nem- pec
ca- to
-
rum.
-
in re mis
- si- o
- nem- pec
ca- to
rit.
-
rum.
-
rit.
33
For Peru
sal O
nly
111
( q = c. 60 )
( q = c. 60 )
Espressivo
Et
ten.
ex
ten.
div.a tempo
pec
mf
- to
- re sur- rec
- ti- o
- nem
- mor tu- o
-
- -
Et
ex
div.
pec
mf
- to
- re sur- rec
- ti- o
- nem
-
o
-
Et
ex
pec
mf
- to
- re sur- rec
- ti- o
- nem
- mor tu- o
-
-
div.
pec
mf
to
- re sur- rec
- ti- o
- nem
-
o
-
a tempo
115
Broadly ( q = c. 56 )
Broadly ( q = c. 56 )
rum.
rit.
breve
Et
cresc. e accel.
vi
a tempo
tam- ven tu
- ri- sae
poco rit.
cu- li
-
A
f
men,
-
rum.
rit.
breve
Et
cresc. e accel.
vi
a tempo
tam- ven tu
- ri- sae
poco rit.
cu- li
-
A
f
men,
-
rum.
rit.
breve
Et
cresc. e accel.
vi
a tempo
tam- ven tu
- ri- sae
poco rit.
cu- li
-
A
f
men,
-
rum.
rit.
breve
Et
cresc. e accel.
vi
a tempo
tam- ven tu
- ri- sae
poco rit.
cu- li
-
A
f
men,
-
rit.
breve
a tempoaccel.
poco rit.
breve
34
For Peru
sal O
nly
119
A
men,
-
A
molto rit.
men,
- - -
f
A
a tempomp
- -
A
men,
- A
men,
- - -
f
A
mp
- -
A
men,
-
A
men,
- - -
f
A
mp
- -
A
men,
-
A
men,
- - -
f
A
mp
- -
molto rit.
a tempo
123
- men,
A
mp
dim. e rit.
men.
- - - -
pp
- men,
A
mp
dim. e rit.
meh
*
- - - -
Hmm.
- men,
A
mp
dim. e rit.
men.
- - - -
pp
- men,
A
mp
dim. e rit.
meh
*
- - - -
Hmm.
rit.
*Altos and Basses fade away through m. 126 omitting closing consonant to prepare for final cadence in m. 127.
35
For Peru
sal O
nly
Majestic q = c. 63
Majestic q = c. 63Music by
Marc A. Hafso
for Judy
for SATB Chorus with Piano and Optional Percussion†Sanctus
Soprano*Alto
Tenor*Bass
Piano
Percussion
ff
San
ctus,
-
San
ctus,
-
San ctus,- Do
mi
- -
ff
mp
ff
Low Drum
Triangle
5
nus;
San
ctus,
-
Do
mi- nus
-
De us- Sa
ba
- oth.
-
mp
mp
*To ensure proper balance of triads (mm 1-18), traditional SATB assignments may need to bere-voiced: High, Medium, and Low for both Women's and Men's parts.
†Sanctus is also available separately (39-20129).
36
For Peru
sal O
nly
10
f
San
ctus,
-
San
ctus,
-
San ctus,- Do
mi
- nus;
-
f
f
mp
14 Slower q = c. 58
Slower q = c. 58
San
ctus,
-
Do
mi- nus
-
De
rit.
us- Sa
ba
- oth.
-
De
mf
us-
mf
rit.
37
For Peru
sal O
nly
18
Very slow q = c. 52
Very slow q = c. 50
Sa
rit.
ba
- - oth
-
mf
De
us
Sa
rit.f
ba
- - -
mf
f
rit.
rit.
(rehearsal only)
a tempo ( q = c. 63 )
a tempo ( q = c. 63 )
21
o(th.)*
mf
poco a poco dim. e rit.
Hmm
mf
poco a poco dim. e rit.
mp
poco a poco dim. e rit.
*In measures 21 and 22, singers move independently from "oth" to "Hmm" omitting the final "th" consonant.
38
For Peru
sal O
nly
25
Ple
S I
a tempo, faster ( q = c. 69 )p Simply*
ni- sunt coe
li- et ter
ra- Glo ri_a- tu
a.-
Ple ni- sunt coe
li- et ter
ra- Glo ri_a- tu
a.-
p
p
l.v.
l.v.
27
Ple
S I
ni- sunt coe
li- et ter
ra- Glo ri_a- tu
a.-
Ple ni- sunt coe
li- et ter
ra- Glo ri_a- tu
a.-
S II
Ple
p
ni- sunt coe
li- et ter
ra.-
Ple ni- sunt coe
li- et ter
ra.-
A
Ple
p
ni- sunt glo
ri- a-
Ple ni- sunt glo
ri- a-
T
mp
O
-
B
mp
mp
*Women's parts should be sung easily and smoothly. For proper balance, revoice traditional Soprano-Alto assignments: High, Medium, Low
l.v.
l.v.
39
For Peru
sal O
nly
29
Ple
S I
ni- sunt coe
li- et ter
ra- Glo ri_a- tu
a.-
Ple ni- sunt coe
li- et ter
ra- Glo ri_a- tu
a.-
S II
Ple ni- sunt coe
li- et ter
ra.-
Ple ni- sunt coe
li- et ter
ra.-
A
Ple ni- sunt glo
ri- a-
Ple ni- sunt glo
ri- a-
san
TB
na- - in
ex
cel
- sis,
-
O
-
l.v.
l.v.
31
Ple
S I
ni- sunt coe
li- et ter
ra- Glo ri_a- tu
a.-
Ple
poco cresc.
ni- sunt coe
li- et ter
ra- Glo ri_a- tu
a.-
S II
Ple ni- sunt coe
li- et ter
ra.-
Ple
poco cresc.
ni- sunt coe
li- et ter
ra.-
A
Ple ni- sunt glo
ri- a-
Ple
poco cresc.
ni- sunt glo
ri- a-
san
TB
na- - in
ex
cel
- sis.
-
div.
O
-
poco cresc.
l.v.
l.v.
40
For Peru
sal O
nly
33
Ple
S I
mp
ni- sunt coe
li- et ter
ra- Glo ri_a- tu
a.-
Ple ni- sunt coe
li- et ter
ra- Glo ri_a- tu
a.-
S II
mp
Ple ni- sunt coe
li- et ter
ra.-
Ple ni- sunt coe
li- et ter
ra.-
A
mp
Ple ni- sunt glo
ri- a-
Ple ni- sunt glo
ri- a-
san
TB
mf
na- - in
ex
cel
- sis.
-
O
-
mp
l.v.
l.v.
35
Ple
S I
ni- sunt coe
li- et ter
rit.
ra- Glo ri_a- tu
a.-
Ple ni- sunt coe
li- et ter
molto rit.
ra- Glo ri_a- tu
a.-
S II
Ple ni- sunt coe
li- et ter
ra.-
Ple ni- sunt coe
li- et ter
ra.-
A
Ple ni- sunt glo
ri- a-
Ple ni- sunt glo
ri- a-
san
TB
na- - in
ex
cel
- sis
-
mp
rit.
molto rit.
l.v.
l.v.
41
For Peru
sal O
nly
Slower q = c. 52
Slower q = c. 52
37
Be
rubato-espressivomp
ne- di
- ctus,- Be
ne- di
- - ctus,
Be
ne- di
- ctus,- Be
ne- di
-
ctus,
-
Semi-chorus
qui
p simply
Be
mp
ne- di
- ctus,- Be
ne- di
- ctus,
-
Be
ne
- di
- ctus,
-
Be
mp
ne- di
- ctus,- Be
ne- di
- ctus,
-
Be
ne
- di
- ctus,
-
Be
mp
ne- di
- ctus,- Be
ne- di
- ctus,
-
Be
ne
- di
- ctus,
-
(rehearsal only)
41
ve
nit
- in
no
mi- ne,
-
mf
qui
tutti
ve
nit
accel. e cresc.
- in no
mi- ne- Do
div.f molto rit.
mi
- ni.
-
ve
nit
- in
no
mi
- ne
-
mf
ve
div.
nit- in no
mi- ne- Do
f
mi
- ni.
-
ve
nit
- in
no
mi
- ne
-
mf
ve
div.
nit- in no
mi- ne- Do
f
mi
- ni.
-
O
f
-
ve
nit
- in
no
mi
- ne
-
mf
ve
div.
nit- in no
mi- ne- Do
f
mi- ni.
-
f
42
For Peru
sal O
nly
45
Ple
S I
f a tempo
ni- sunt coe
li- et ter
ra- Glo ri_a- tu
a.-
Ple ni- sunt coe
li- et ter
ra- Glo ri_a- tu
a.-
S II
Ple
f
ni- sunt coe
li- et ter
ra.-
Ple ni- sunt coe
li- et ter
ra.-
A
Ple
f
ni- sunt glo
ri- a-
Ple ni- sunt glo
ri- a-
san
TB
na- - in
ex
cel
- sis,
-
O
-
f a tempo
l.v.
l.v.
47
Ple
S I
ni- sunt coe
li- et ter
ra- Glo ri_a- tu
a.-
Ple ni- sunt coe
li- et ter
ra- Glo ri_a- tu
a.-
S II
Ple ni- sunt coe
li- et ter
ra.-
Ple ni- sunt coe
li- et ter
ra.-
A
Ple ni- sunt glo
ri- a-
Ple ni- sunt glo
ri- a-
san
TB
na- - in
ex
cel
- sis.
-
div.
O
-
f a tempo
loco
l.v.
l.v.
43
For Peru
sal O
nly
49
Ple
S I
ni- sunt coe
li- et ter
ra- Glo ri_a- tu
a.-
Ple ni- sunt coe
li- et ter
ra- Glo ri_a- tu
a.-
S II
Ple ni- sunt coe
li- et ter
ra.-
Ple ni- sunt coe
li- et ter
ra.-
A
Ple ni- sunt glo
ri- a-
Ple ni- sunt glo
ri- a-
san
TB
na- - in
ex
cel
- sis,
-
O
-
l.v.
l.v.
51
Ple
S I
ni- sunt coe
li- et ter
ra- Glo ri_a- tu
a.-
Ple
poco cresc.
ni- sunt coe
li- et ter
ra- Glo ri_a- tu
a.-
S II
Ple ni- sunt coe
li- et ter
ra.-
Ple
poco cresc.
ni- sunt coe
li- et ter
ra.-
A
Ple ni- sunt glo
ri- a-
Ple
poco cresc.
ni- sunt glo
ri- a-
san
TB
na- - in
ex
cel
- sis.
-
loco
l.v.
l.v.
44
For Peru
sal O
nly
53
Ple
S I
sub. p
ni- sunt coe
li- et ter
ra- Glo ri_a- tu
a.-
Ple ni- sunt coe
li- et ter
ra- Glo ri_a- tu
a.-
Ple
poco a poco dim. e rit.
ni- sunt coe
li- et ter
ra- Glo ri_a- tu
a.-
S II
A
San
p
ctus,
- -
San
-
T
O
p
san
- na
- in
ex
cel
- sis
-
O
san
- na
-
B
San
p
ctus,
- - - -
San
-
sub. p
poco a poco dim. e rit.
loco
56
Ple
piú rit.
ni- sunt coe
li- et ter
molto rit.
ra- Glo ri_a- tu
a.-
San
p
ctus,
poco a poco dim. e rit.
-
San ctus,-
San
pp
ctus,-
ctus,
- -
SII
San
p
ctus,-
San ctus,-
San
pp
ctus,-
in
ex
cel
- sis
-
San
p
ctus,-
San ctus,-
San
pp
ctus,-
ctus,
- -
San
p
ctus,-
San ctus,-
San
pp
ctus,-
piú rit.
molto rit.
ppR.H.
45
For Peru
sal O
nly
Espressivo, rubato ( q = c. 63 )
Espressivo, rubato ( q = c. 63 )
for teacher and mentorDr. Charles K. Smith
for SATB Chorus, a cappellaAgnus Dei
Music byMarc A. Hafso
Ag
SA
mp unis.
nus- De
i,
- qui tol
lis- pec ca
- ta- mun
di.
-
Ag nus- De
i,
- qui tol
div.
lis- pec
-
TB
rehearsal only
4
ca
ta;
-
Ag
nus
- De
i
-
qui tol
lis- pec ca
- ta- mun
di.
-
Ag
mp
nus- De
i,
-
8
mi
dim. e rit.
se- re
- re
- no
p
bis.
-
a tempo
Hmm
mp
Hmm
unis. mp
Ag nus-
De
i,
- qui tol
lis- pec ca
- ta- mun
di.
-
Ag nus-
rit.
a tempo
46
For Peru
sal O
nly
12
Hmm
De
i,
- qui tol
lis- pec ca
(melody)
- ta;
-
Ag
nus
- De
i
-
qui tol
lis- pec
-
15
Hmm
Hmm
dim. e rit.
Ag
mfWarmly
a tempo
nus-
ca ta- mun
di,
-
mp
Ag nus- De
i,
-
mi
dim. e rit.
se- re
- re
- no
bis.
-
rit.
a tempo
47
For Peru
sal O
nly
19
De
i
- qui tol
lis- pec ca
- ta- mun
di.
-
Ag
*
nus- De
i
- qui tol
lis- pec
-
De
i
- qui tol
lis- pec ca
- ta- mun
di.
-
Ag nus- De
i
- qui tol
lis- pec
-
De
i
- qui tol
lis- pec ca
- ta- mun
di.
-
Ag nus- De
i
- qui tol
lis- pec
-
De
i
- qui tol
lis- pec ca
- ta- mun
di.
-
Ag nus- De
i
- qui tol
lis- pec
-
22
ca
ta;
-
Ag
f
nus
- De
i
- qui tol
lis- pec ca
- ta- mun
di.
-
mf
Ag
mp
nus-
ca
ta;
-
Ag
f
nus
- De
i
- qui tol
lis- pec ca
- ta- mun
di.
-
mf
Ag
mp
nus-
ca
ta;
-
Ag
f
nus
- De
i
- qui tol
lis- pec ca
- ta- mun
di.
-
mf
ca
ta;
-
Ag
f
nus
- De
i
- qui tol
lis- pec ca
- ta- mun
di.
-
mf
*Melody in Soprano II and Alto I must stand out through end of measure 21.
48
For Peru
sal O
nly
25
De
i,
-
Ag
(Semi-Chorus)
pSimply
nus- De
i,
-
Ag
mp
(Tutti)
nus- De
i,-
mf
Ag
rit.
nus
- De
f
mf
i.
-
De
i,
-
De
p
i,
-
Ag
mp
nus- De
i,-
mf
Ag
nus
- De
f
mf
i.
-
De
mp
i,
-
De
p
i,
-
Ag
mp
nus- De
i,
-
Ag
mf
nus
- De
f
mf
i.
-
De
mp
i,
-
De
p
i,
-
De
i,-
De
f
mf
i.
-
rit.
Espressivo a tempo
Espressivo a tempo
30
ten.
Do
Do
na
na,
-
- Do na- no
bis- pa
cem,
- no bis- pa
dim. e rit.
cem,
-
qui
Do
mf Do
na,
na
-
-
Do na- no
bis- pa
cem
-
pa
cem,
-
qui
ten.
Do
na,
- Do na- no
bis- pa
cem,
- no bis- pa
cem,
-
qui
mf
Do
na,
- do na- no
bis- pa
cem,
-
pa
cem,
-
qui
rit.
49
For Peru
sal O
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35
tol
cresc. e accel.
lis- pec ca
- ta- mun
rit.
di.
-
Do
a tempof
na,
- do
na
-
tol
lis- pec ca
- ta- mun
di.
-
Do
f
na,
- do
na
-
tol
lis- pec ca
- ta- mun
di.
-
Do
f
na,
- do
na
-
tol
lis- pec ca
- ta- mun
di.
-
Do
f
na,
- do
na
-
accel.
rit.
a tempo
39
no
ff
bis
molto rit.
- pa
cem.
-
A
mpa tempo, a little faster
rit.
- - - - - -
no
ff
bis
- pa
cem.
-
A
mp
- - - - - -
rit.
no
ff
bis
- pa
cem.
-
A
mp
rit.
- - - - - -
no
ff
bis
- pa
cem.
-
A
mp
- - - - - -
rit.
molto rit.
a tempo, a little faster
rit.
50
For Peru
sal O
nly
43
men,
mp A
A
rit.
ten.
pmen.
men.
- - - - - - -
- - - -
men,
mp
A
mp A
rit.
ten.
men.
men.
p
- - - - - -
- - - -
men,
mp A
mpA
rit.
ten.
men.
men.
p
- - - - - - -
- - - -
men,
mp
A
mpA
rit.
ten.
men.
men.
p
- - - - - -
- - - -
rit.
51
For Peru
sal O
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