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Tallis Miserere Nostri Revoiced.Pdf *To allow for wider accessibility, the Soprano canon has been shifted down to the Soprano 2 and Alto, while the Alto line has been transposed up one octave and placed in the Soprano 1 line. The left segment shows the original voicing. Miserere nostri, Domine. Miserere nostri. Miserere nostri Have mercy on us, Lord. Have mercy on us. THOMAS TALLIS (1505-1585) ( ) Transcription by Keith Harmel (Superius) h = c 33-38 q = 66-76 * b Soprano 1 ‚4 œ ˙ ˙ œ C Ó · & b 2 w ˙ ˙ ˙ œ œ œ ˙ œ œ B b ‚ Mi - se˙ - re - re no - stri, Do - mi - ne, mi - se - (Superius Secundus) * b Soprano 2 ‚4 ∑ Ó · & b 2 Ó w ˙ w ˙ w Ó ˙ B b ‚ Mi - se˙ - re - - - re no - (Discantus) * B Alto ‚4 b C · & b 2 ∑ Ó ˙ ˙ ˙ ˙ ˙ ˙ w ‚ Mi - se˙ - re - - - re Contra Tenor B Tenor 1 ‚4 b C › V b 2 W W ‚ Mi - - - - - seW - - - Tenor ‚ ˙. B b Tenor 2 w ˙ ˙ C ∑ ·. ? b 42 ∑ w ˙ ˙ œ b ‚ Mi - se - re - re no - Bassus ? ›. Bass 1 ? ‚4 W w w W b C b 2 ‚ Mi - - - - se - re - - - Bassus Secundus . Bass 2 ‚ . w ? b C · ? b 42 w ˙ w w w ‚ Mi - se - re - - - - - - 4 S1. œ œ œ œ œ œ. œ j & b œ œ. œ œ œ œ œ œ œ œ Œ J œ. œ œ. œ œ œ re - J - -œ reœ no - - - - - J - - S2. œ. & b œ œ œ ˙ ˙ œ œ œ ˙ œ ˙ ∑ - stri,J Do - œ œ- œ œ - - mi - ne, A. & b Ó ˙ œ. œ œ œ œ œ ˙ œ œ œ œ œ ˙ ∑ no - stri,J Do - œ œ- œ œ œ - - mi - ne, T1. V b W W re - - - - Wre no - - - T2. œ ˙ ˙ ? b œ œ ˙ Ó ˙ œ œ. œ œ œ w. - stri, mi - seœ - re - J - - re no - B1. ? W W W b re no - - - - - - - B2. ? b ˙ œ œ w ˙ ˙ - ˙ rew no - - - - - -w - stri,˙ Copyright © 2020 by the Choral Public Domain Library (http://www.cpdl.org) Edition may be freely distributed, duplicated, performed, or recorded. 2 Miserere nostri 7 S1. j œ. ˙ & b ˙ œ ˙ œ œ œ œ œ œ œ Œ œ œ œ ˙ œ œ œ œ œ ˙ œ - - - - œ. - ˙ stri, mi - se - re - re J no - stri, Doœ œ - S2. ˙ ˙ ˙ w & b Ó ∑ ˙ ˙ ˙ ∑ mi - se - re˙ ˙ - re no˙ - stri, A. & b ∑ Ó ˙ ˙ ˙ w ∑ w ˙ mi - se - rew - re no˙ - stri, T1. w w b w w w w V stri Do - - - w - ˙ - ˙ - - - mi - T2. ˙. œ œ ˙ œ œ ˙ œ œ œ œ . œ œ ? b œ Ó Œ œ œ œ ˙ w Ó ˙ œ œ J - - - stri, Do - mi - ne, mi - se - re - B1. ? W W W w w b stri, Do - - - - mi - B2. ˙ ˙ ? b ˙ ˙. œ œ œ ˙ ˙ œ œ ˙ Ó Do - - - - - - mi - ˙ ne,˙ mi˙ ˙- se˙ - 11 S1. & b ˙. ˙ œ œ œ œ j œ w Ó œ ˙ ˙ - œ œ - miœ - - œ -œ. œ œ - ne, mi˙ ˙.- se - re - S2. ˙ & b Œ œ ˙. œ œ œ ∑ Ó ˙ ˙ w ∑ mi - se - re - - œ re˙ no˙ - stri, A. ˙ & b ∑ Œ œ ˙. œ œ œ ∑ Ó ˙ ˙ w mi - se - re - - œ re˙ no˙ - stri, T1. b w w w w w w ˙ ˙ ˙ V ne, mi - - - se - - - re - - - ˙- T2. œ w ? b œ œ w ˙ ˙ œ œ w. œ w - re no - stri, mi - se - re - - ˙ -˙. - re B1. ? b W w w ne, mi - se - reW - - - reW B2. ˙ ? b ˙. œ ˙. œ ˙ ˙ w ˙ ˙ ˙ œ œ ˙ re˙. - œ - - - - - - re no - Miserere nostri 3 15 S1. œ. œ œ & b ˙. œ ˙ J œ œ œ œ ˙ ˙ Ó ˙. œ œ œ w ˙ - re no - - - stri, mi˙ - se - re - re S2. & b ˙. œ ˙ ˙ ∑ Ó mi˙ - se˙ - re - œ- œ œ - - re,˙ mi˙ ˙.- seœ - A. & b ∑ ˙. œ ˙ ˙ ∑ ∑ Ó mi˙ - se˙ - re - - œ œ œ - - re,˙ mi˙ - T1. w w V b w w ˙ ˙ w - - w - rew no - - - - - - ˙ T2. ˙. œ ˙ ˙ . ˙ ˙ ? b w ˙ Ó œ œ œ ˙ Ó ˙ no - - - - - - - stri, mi - B1. ? b W w w W W no - - - - - - - - B2. ˙. œ ˙ ˙ ? b ˙ ˙ Ó ˙ ˙ ˙ w ˙. œ œ œ ˙ - - - - stri, mi - se - re - re no - 19 S1. & b ˙ ˙ œ œ ˙ œ œ œ œ œ W W W no - - ˙-. - stri. S2. ˙ & b œ œ œ œ ˙ w ∑ ˙ ˙. œ ˙ w ˙ W re˙. - - - re no - - - - stri. A. ˙ w œ ˙ & b œ œ œ œ ∑ ˙ ˙ œ ˙ ˙ W - ˙. seœ - re˙. - - - re no - - - stri. T1. b ∑ w w w W W W V - - - - - stri. T2. ˙ ˙. œ ˙ œ ? b Ó ˙. œ œ œ œ œ œ ˙ ˙ W W se - re - re, no - - - - stri. B1. ? W W W W W b - - - - - stri. B2. ? ˙ ˙ ˙ ˙ ˙ ˙ W W W b - w - - - - stri. Tallis’s Miserere nostri is the 34th and final motet in Cantiones Sacrae of 1575, Britain’s first music publication and a joint project between Tallis and William Byrd. The music gains its structure from ingenious canonic writing. In this modified voicing, an obvious canon is between the Soprano 2 and Alto voices, half a bar apart. Beneath this is a four-voice proportion canon derived from the Soprano 1: the Contra Tenor’s note values four times longer, and the two Bass voices inverted (and durations 4x and 8x longer). The remaining Tenor was freely written to fill in the polyphony. Another technical feat is the use of the number 17, referring to Queen Elizabeth I’s 17th year on the throne; this is Tallis’s 17th contribution to the Cantiones Sacrae, there are 17 notes in the Bassus, and 7 voices are utilized..
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