Preface
will be quite sufficient to mark the fact that this word belongs to what goes before it, without destroying the rhythm of the line. And this is exactly what the “Redactor” of the Sarum form of this line provided for when he modified the original notes:
![% \include "gregorian.ly"
music = {
\language "english"
{ \new VaticanaVoice <<
\set Staff.midiInstrument = "church organ"
\set Score.tempoHideNote = ##t \tempo 4 = 120
\omit Score.BarNumber
\set Staff.clefPosition = #3
\set Staff.middleCPosition = #3
\set Staff.middleCClefPosition = #3
\relative c {
f4 e d f a8[ g] e[ d] f4 g a a f d e \bar "||"
}
\new Lyrics { \lyricmode {
\markup{\italic{Qua}}4 \markup{\italic{De}}4 -- \markup{\italic{us}}4 \markup{\italic{in}}4 -- \markup{\italic{fer}}4 -- \markup{\italic{num}}4 \markup{\italic{vi}}4 -- \markup{\italic{cit,}}4 \markup{\italic{et}}4 \markup{\italic{as}}4 -- \markup{\italic{tra}}4 \markup{\italic{te}}4 -- \markup{\italic{net.}}4
} }
>> }
}
\header {
tagline = ##f
}
\score {
\music
\layout {
\context {
\Staff
\consists Measure_spanner_engraver
}
}
}
\score {
\unfoldRepeats {
\music
}
\midi { }
}](http://upload.wikimedia.org/score/s/4/s48tc8ya1q5v3xj8etffr0rdupv5qxo/s48tc8ya.png)
by adding notes to the earlier syllables of the word infernum.
![% \include "gregorian.ly"
music = {
\language "english"
{ \new VaticanaVoice <<
\set Staff.midiInstrument = "church organ"
\set Score.tempoHideNote = ##t \tempo 4 = 120
\omit Score.BarNumber
\set Staff.clefPosition = #3
\set Staff.middleCPosition = #3
\set Staff.middleCClefPosition = #3
\relative c {
f4 e d <a' f> a16[ a g g] e8[ d] f4 g a a f d e \bar "||"
}
\new Lyrics { \lyricmode {
\markup{\italic{Qua}}4 \markup{\italic{De}}4 -- \markup{\italic{us}}4 \markup{\italic{in}}4 -- \markup{\italic{fer}}4 -- \markup{\italic{num}}4 \markup{\italic{vi}}4 -- \markup{\italic{cit,}}4 \markup{\italic{et}}4 \markup{\italic{as}}4 -- \markup{\italic{tra}}4 \markup{\italic{te}}4 -- \markup{\italic{net.}}4
} }
\new Lyrics { \lyricmode {
Day4 wher4 -- in4 God4 o’er4 -- came4 hell,4 and4 a4 -- rose4 from4 the4 dead.4
} }
>> }
}
\header {
tagline = ##f
}
\score {
\music
\layout {
\context {
\Staff
\consists Measure_spanner_engraver
}
}
}
\score {
\unfoldRepeats {
\music
}
\midi { }
}](http://upload.wikimedia.org/score/t/0/t0k0s9mzv1i4gpccu7k385yvx5vtk3w/t0k0s9mz.png)
These few words of explanation, it is hoped, will help both to illustrate what has been said above as to the nature of the caesura, and also to explain why the same features have been as nearly as possible reproduced in the English translations of these lines. It seemed absurd to retain the peculiarities of the Sarum version of the melody unless one reproduced in the English translation those features of the original Latin text to which these peculiarities are due.
In conclusion, I wish to express my obligations to Mr. W. Phillips, Mus. Doc. (Oxon.), organist of St. Barnabas, Pimlico, for having harmonized nearly half of the plainsong melodies for which I was responsible, and also to Sir Walter Parratt for his constant help and advice throughout the whole undertaking.
xxiv
