Transcribing Polyphony for Choirs
  • Arthur Connick
    Posts: 496
    Seeking advice: I have been working on transcriptions of polyphonic settings of the proper of the Mass by Heinrich Issac. The results should be broadly accessible to choirs that sing at Mass, but shouldn't introduce distortions into the music. Here are 3 versions of the Communion, "Dominus firmamentum". Which transcription is best for modern choirs?

    Basic transcription - change clefs to typical treble and bass only.

    Plus note durations halved - basic time signature changed from 4/2 to 2/2.

    Plus phrasing slurs (and a few other tweaks.)
  • Jeffrey Quick
    Posts: 2,086
    Nice looking scores; I vote for #2. Yes, I think the half-note beat is essential. I find the version with slurs to be distracting; the long slurs over melismas, while "correct" in some schools of notation, are actually redundant, as they just reinforce information presented my the text underlay. I particularly appreciate your retention of incipits, and having the ambitus at the head. I'd personally lose the parentheses around the ficta; their placement should be enough to identify them as editorial.

    But YAY! No funky clefs, no Mensurstriche, no fast 3/1 sections. I like and use ligature brackets, but I'm an early music geek, and most modern singers just ignore them.
  • incantuincantu
    Posts: 989
    That's funny. I'm working on the same project, except I'm including the full chant antiphon and verse in a semiologically informed rhythmic and melodic transcription from the new Graduale Novum. I just sent a first draft to some colleagues yesterday. Which propers are you working on?
  • Liam
    Posts: 5,092
    Count me in strongly in favor of the long slurs being visually marked over melismas. While redundant for some, they are vital to many amateur singers, and even many more skilled singers. I've been a musician for over 40 years, and still write them into my scores where they are absent - this has saved me from many errors, and freed me to be more musical and prayerful in song.
  • noel jones, aagonoel jones, aago
    Posts: 6,611
    It is hard to understand the need for the slurs. Musicians for centuries have been able to look at the syllable and sing it to the note and all following notes until the next syllable is reached.

    It's not rocket science. It makes a clean, clear score, permitting the singer to add slurs as needed for their abilities. Those who need them, go ahead and draw them in. Those who do not profit from a clean score.
  • Arthur Connick
    Posts: 496
    Incantu, I'm working on the propers from Choralis Constantinus Vol 1 downloaded at IMLSP. The immediate need is preparing music for a group that sings at Mass at St. Margaret Mary Church, hence so far I've only worked on a few selected days.
  • Richard MixRichard Mix
    Posts: 2,798
    I bet there's a lot of work being duplicated. I did the communions from vol. 1 some time ago and the complete Marian feasts from vol. 2.

    I'm squarely in the option one camp. Users should benefit from an explanation of Rabl's distinction between 'necessary' and (parenthetical) 'beautiful' ficta, and from additional verses.
  • incantuincantu
    Posts: 989
    Richard, are your transcriptions available? The fact that I'm including a performing edition of the chant justifies some amount of duplicated effort, but my own choir can read chant directly from St. Gall notation. I'm working first on the ad libtum communions for ordinary time.
  • Richard MixRichard Mix
    Posts: 2,798
    Incantu,

    As you no doubt have heard from our mutual friends, I'm willing to share with beta testers, and can be emailed directly at myname at hotmail .com. Surprising it's taking us so long to meet in person, isn't it? I look forward to the day...
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