However, I have qualms about the visual effect of barring every semibreve
, or dotted minim in the case of triple time.
The madrigal is composed for the most part of long note values, as k evident in the incipit featuring breves and semibreves
mensuration, and in the absence of any guidance by numbers ('& senz' altra scorta di nu[meri]'), the singer performs three blackened semibreves
to one breve tactus, while under C mensuration, governed likewise by an absence of numbers ('& ancor lei senza nu[meri]'), three minims are sung to one semibreve
8 This calls to mind a passage from the Mass O quam suavis where breves (not longs) adding up to 9 (consisting of semibreves
worth 8 + 1, 7 + 2 .
Contrary to her statement, Marchetto most certainly did make a commitment to equal (first-division) semibreves
in the Pomerium .
My preference would be for barring in semibreves
in c and breves in [TEXT NOT REPRODUCIBLE IN ASCII], because the semibreve
is the largest musically meaningful unit in c, but this is simply a matter of taste; both alternatives are equally correct.
25) are divided into bars of two semibreves
in perfect prolation.
Strain lengths are calculated in semibreves
(s) or dotted semibreves
(ds) with regard for the original note-values (in Dart's edition the note-values in Nos.
The manuscript contains Magnificat and Kyrie verses written out in a combination of minims and semibreves
, some of which correspond precisely in content to the versions found in the Tabulatura nova.
In all movements except the Credo (in which the chant is set in the top part in a simple form of faburden) the chant is used as a cantus firmus in the tenor, mostly in semibreves
, and sometimes in paraphrase.
quotes the opening and the ending materials of Willaert's motet Benedicta es in the usual places within the Mass, the citations in the Missa Congratulamini mihi are too brief, lasting only four semibreves
are formed in the same way, with the quill again starting at the top of the note-head.
The notational state of the piece, using perfect long, imperfect long, altered and unaltered breve, and finally semibreve
, there being only two texted semibreves
per breve and never more than three melismatic semibreves
, might seem to place the piece in Petrus le Viser's mos lascivus, that is to say `e pleasure-seeking manner' of performance, associated with a relatively brisk tactus and defined by a notational state closely akin to that of Zelo tui langueo/Reor nescia.
Indeed, editors who deem it absolutely essential to "correct" this earlier notational style might wish to follow Alan Curtis's example in his edition of Claudio Monteverdi's L'incoronazione di Poppea (London: Novello, 1989), in which the substitution of quarter notes for the original semibreves
more closely approximates modern expectations.
All three songs are in simple stroke notation: Talent and the anonymous work use both semibreves