tertia, I had needed to make a correction to make the parts come out
the same length; the correction I made in 2002 was to add a quarter note
in the Cantus part, which caused all subsequent notes to be off
the beat. I have now found a quarter note to take out of the
tenor part, which makes a lot more sense.
This is the last piece in Petrucci's Odhecaton. Petrucci
doesn't give the attribution, but there are apparently 4 other
sources that all agree that Obrecht
There's a tune in long notes, split between the tenor and altus
parts. Petrucci prints the Tenor part above the alto part, so
I've done that in the score as well. I also used old-style rests,
I did some fairly stupid things with views in mysql when I set up this site, and every so often enough people use that code at once that even though it's a fairly compact database, their searches were bringing the database server to its knees, and I would get an email from Dreamhost customer support saying they'd turned off one of the views and if I can't figure out a way to make it more efficient, I should be paying them more money for a dedicated database server.
This transcription is actually by Allen Garvin, who has recently
started his own site for his transcriptions from Renaissance Facsimile.
The piece is from Petrucci's Odhecaton
A. So it's a bit earlier than most of the music on
this site, and the note values are longer, and the crunches are a
bit different, but we're enjoying it.
piece by William
Byrd is still a bit too hard for us to learn in one season of
singing Christmas music, especially since it's 5 parts, and a
lot of our meetings around Christmas have fewer people than
But it would really rock (in several senses of the word -- it's
a cradle-rocking rhythm in the triple meter section) if we could
do it, and the serpent likes the bass line. So we played it