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37?
/va V A3?
IN NOMINE DOMINI
DISSERTATION
Presented to the Graduate Council of the
University of North Texas in Partial
Fulfillment of the Requirements
For the Degree of
DOCTOR OF MUSICAL ARTS
By
Timothy R. Crowley, B.M., M.M.
Denton, Texas
August, 1995
37?
/va V A3?
IN NOMINE DOMINI
DISSERTATION
Presented to the Graduate Council of the
University of North Texas in Partial
Fulfillment of the Requirements
For the Degree of
DOCTOR OF MUSICAL ARTS
By
Timothy R. Crowley, B.M., M.M.
Denton, Texas
August, 1995
Crowley, Timothy R. Tn Nnmine Domini. Doctor of Musical
Arts (Composition), August 1995, 108 pp., 7 examples, 23
figures, sources consulted, 33 titles.
In Nomine Domini is an eighteen-minute composition for
two chamber orchestras with two soloists using real-time
interactive signal processing techniques. The first chamber
orchestra is scored for flute (piccolo), English horn,
trumpet in C, trombone, two percussionists (cowbells, wood
blocks, tenor drum, suspended cymbal, gongs, tam-tam, temple
blocks, tambourine, snare drum, timbales, and bass drum),
horn in F (soloist), viola, and string bass. The second
chamber orchestra is scored for oboe, clarinet in Bb (bass
clarinet in Bb), bassoon, tuba, two percussionists
(crotales, two marimbas, vibraphone, chimes, and tom-toms),
piano (soloist), violin, and cello. Real-time interactive
signal processing techniques are achieved through the use of
a stereo multiple-effects signal processor and a personal
computer running MIDI interactive software.
The work is based upon the four-hundred and seventy-five
year old in nomine composition tradition begun by John
Taverner in the Benedictus of his Mass Gloria tibi Trinitas
(1520) and continued in over one-hundred and fifty
Renaissance settings. In Nomine Domini consists of three
movements: "Taverner* derived from the Benedictus of the
Mass Gloria tibi Trinitas (1520), "Byrd" derived from the
Benedictus of William Byrd's Five-voice Mass (1592), and
"Tye" derived from Christopher lye's In Nomine XIII "Trust"
(1578) .
In Nomine Domini applies the English art of change
ringing and three computer-assisted composition techniques:
stochastic processes, fractal applications, and conditional
probabilities.
Copyright by
Timothy R. Crowley
1995
111
ACKNOWLEDGEMENTS
The author would like to acknowledge the following
University of North Texas faculty who provided guidance
throughout my tenure as a graduate student: Cindy McTee, who
believed in nty potential and gave me my first teaching
responsibilities, Thomas Clark, who taught me the craft of
musical composition, and Larry Austin, whose skilled
pedagogy and artistic professionalism will always be a model
to me.
In Nomine Domini is dedicated to my wife, Ann Dillow
Crowley, a professional hornist and music educator, and my
most ardent supporter.
xv
TABLE OF CONTENTS
Page
ACKNOWLEDGEMENTS iv
LIST OF EXAMPLES vi
LIST OF FIGURES vii
Chapter
1. MODELING THE COMPOSITION viii
Introduction The "in nomine" genre Spatial arrangement Form Change ringing
2. TECHNICAL PROCESSES xxxi
Stochastic processes Fractal applications Conditional probabilities Interactive computer music systems Aesthetic rationale
APPENDIX A lv
APPENDIX B lxii
SOURCES CONSULTED lxxi
IN NOMINE DOMINI 1
LIST OF EXAMPLES
Example Page
1. Sarum antiphon "Gloria tibi Trinitas" xi 2. Altus voice of the Benedictus of Taverner's Mass
Gloria tibi Trinitas (1520) on "in nomine Domini* xii 3. Similarities between the "in nomine" sections of
Byrd Five-voice Mass (Benedictus) and Taverner, Mass Gloria tibi Trinitas (Benedictus) xv
4. Altus voice of In Nomine XIII *Trust* by Christopher Tye xvi
5. Dux of variation eight xxi 6. Comes of variation eight xxii 7. Variation five three bell "plain hunt* xxvi
VI
LIST OF FIGURES
Figure Page
1. Formal outline of In Nomine Domini with computer-assisted compositional techniques xvii
2. In Nomine Domini orchestration xviii 3. Spatial arrangement #1 ("proscenium arch") xix 4. Spatial arrangement #2 ("box") xx 5. Structural diagram for variation eight xxiii 6. A "plain hunt" peal with a six bell set xxv 7. Rhythmic ratio relationship in variation six xxvii 8. The five rhythmic levels of variation seven xxviii 9. Form and orchestration design of variation seven....xxix
10. Random numbers with simple averaging xxxii 11. Simple averaging MAX patch used in variation one..xxxiii 12. The Koch snowflake xxxv 13. Waschka's translation of Voss's 1/f algorithm
with sample procedure and output xxxvii 14. MAX patch for generating 1 If data xxxviii 15. MAX patch for generating "random walk" data xli 16. Transition table data for cantus firmus of
Taverner Mass Gloria tibi Trinitas (Benedictus)....xliii 17. Markov chain state diagram xliii 18. Partial Markov chain MAX patch xliv 19. Processing and response stages of interactive
computer music system used in In Nomine Domini xlvii 20. MAX front panel patch xlix 21. A MAX middle-level subpatch 1 22. A MAX lowest-level subpatch 1 23. An Ensoniq DP4 single-unit effect lii
VII
CHAPTER ONE
MODELING THE COMPOSITION
Introduction
In Nomine Domini is an eighteen-minute composition for
two chamber orchestras with two soloists using real-time
interactive signal processing techniques. The first chamber
orchestra is scored for flute (piccolo), English horn,
trumpet in C, trombone, two percussionists (cowbells, wood
blocks, tenor drum, suspended cymbal, gongs, tam-tam, temple
blocks, tambourine, snare drum, timbales, and bass drum),
horn in F (soloist), viola, and string bass. The second
chamber orchestra is scored for oboe, clarinet in Bb (bass
clarinet in Bb), bassoon, tuba, two percussionists
(crotales, two marimbas, vibraphone, chimes, and tom-toms),
piano (soloist), violin, and cello. Real-time interactive
signal processing techniques are achieved through the use of
a stereo multiple-effects signal processor and a personal
computer running MIDI interactive software.
Salient interactive computer music models include three
works by composer Cort Lippe: Music for Clarinet and ISPW
vixi
(1992), Music for Flute and ISPW (1992), and Music for
Sextet and ISPW (1993). The aesthetic outlined by Lippe in
his notes for Music for Sextet and ISPW reflects my own
interest in interactive computer music:
In Music for Sextet and ISPW, the relationship between the electronic and the instrumental parts lies somewhere in the middle of the continuum defined by the poles of the "transcendental"' (fused) and the "formal" (separate). At one end of this continuum, the electronics and instruments are separate, yet give musical support to each other; at the other end of the continuum, they function independently. I have tried to explore the musical ambiguity where one medium ends and the other begins, since this is what attracts me to live-electronic music. Thus, between the electronics and instruments, a continuous interplay exists between the fused and the separate. Meanwhile, working with computers keeps me questioning the fine line that separates music, sound, and "special effects".1
This "continuous interplay between the fused and the
separate" attracts me to interactive computer music. In
Nomine Domini incorporates interactive computer music within
historical compositional traditions and computer-assisted
compositional techniques.
^Cort Lippe, Music for Sextet and ISPW. Centaur Records, CDCM Computer Music Series, vol. 21, 1994.
xx
The "in nomine" genre
In Nomine Domini is categorized as a cant us firmus
composition, that genre of musical composition found most
prominently in the tradition of Continental Mass composition
from the late fourteenth until the late sixteenth centuries.
The composition uses a pre-existent monophonic model as the
musical foundation for the entire polyphonic composition.
Furthermore, In Nomine Domini belongs in the specialized "in
nomine" sub-genre which uses the Sarum antiphon "Gloria tibi
Trinitas" for the first Vespers of Trinity Sunday as the
cantus firmus for its polyphonic structure. The prototype
for this sub-genre is the long melismatic setting of the
text "in nomine Domini" by John Taverner (ca. 1490-1545) in
the Benedictus of his Mass Gloria tibi Trinitas (1520). It
is this setting that serves as the cantus firmus for In
Nomine Domini. The incipit title "in nomine" arose from
Taverner's circulation of the long melisma on "in nomine
Domini" as a separate untexted composition. Hundreds of
arrangements which incorporated the cantus firmus of his
Mass Gloria tibi Trinitas appeared in the following
century.2
My intent with my composition is to continue this
tradition by using three Renaissance "in nomine" settings as
2Don Michael Randel, ed., The New Harvard Dictionary of Music. (Cambridge: Harvard University Press, Belknap Press, 1986), 394-395.
models: John Taverner's Mass Gloria tibi Trinitas (1520),
William Byrd's Five-voice Mass (1592), and Christopher Tye's
In nomine XIII "Trust" (1578). My composition represents a
synthesis of an analysis of the pitch-class and rhythmic
vocabulary in each work. In Nomine Domini has three
movements, each subtitled in honor of the corresponding
model: "Taverner", "Byrd", and "Tye". The original Sarum
antiphon "Gloria tibi Trinitas" is shown in Example 1 below:
Example 1: Sarum antiphon "Gloria tibi Trinitas"3
XX
As expected with a cantus firmus composition, the
Benedictus of John Taverner's Mass Gloria, tibi Trinitas
(1520) presents the Sarum antiphon in the altus voice
beginning with the text "in nomine Domini" (Example 2):4
•i -
M M ni.
Example 2: Altus voice of the Benedictus of Taverner's Mass
Gloria tibi Trinitas (1520) on "in nomine Domini"
3Robert W. Weidner, ed., Christopher Tye: The Instrumental Music. (New Haven, Conn.: A-R Editions, Inc., 1967), x.
4P.C. Buck et al., eds., Tudor Church Music. (London: Oxford University Press, 1923), 1:148-149.
xxx
This twenty-seven bar melisma (in modern transcription)
is the basis for the "in nomine" genre. In fact, according
to Weidner, "the form became a kind of composer's test
piece, especially popular during the latter half of the
sixteenth century".5 Composers who contributed to the
genre after Taverner include: Philip Alcock, Richard Alison,
John Baldwin, John Banister, Elway Bevin, Edward Blancks,
John Blitheman, John Bucke, John Bull, William Byrd, William
Cranford, Arthur Cocke, Peter Maxwell Davies, John
Eglestone, Alfonso Ferrabosco (the elder and the younger),
Orlando Gibbons, Edward Gibbons, John Gibbs, George Gill,
Robert Golder, Edward Hake, Simon Ives, John Jenkins,
Matthew Jeffries, Robert Johnson, William Lawes, Thomas
Mericocke, John Milton, Henry Mudd, William Mundy, John
Mundy, Osbert Parsley, Robert Parsons, T. Pointz, Thomas
Preston, Henry Purcell, William Randall, John Sadler, Roger
Smalley, William Stannar, Henry Stonings, Nicholas Strogers,
Thomas Tallis, John Thorne, Christopher Tye, Thomas Tomkins,
John Ward, Thomas Weelkes, Robert White, William Whytbroke,
John Withy, Clement Woodcock, and Leonard Woodeson.6
I have chosen three Renaissance "in nomine" compositions
as models for my own continuation of the genre: 1) John
^weidner, xi. ^Warwick Edwards, "In Nomine," The New Grove
Dictionary of Music and Musicians, ed. Stanley Sadie (New York: MacMillan, 1980), 9:232—233. - ,
xxix
Taverner's prototype in the Benedictus of the Mass Gloria
tibi Trinitas7 (1520), 2) William Byrd's excerpt from the
Benedictus of his Five-voice Mass8 (1592), and 3)
Christopher Tye's instrumental setting In nomine XIII
'Trust"9 (1578) .
The "in nomine* cantus firmus is not readily apparent in
the Benedictus of William Byrd's Five-voice Mass; however,
there are clear similarities between the same location in
John Taverner's Benedictus of the Mass Gloria tibi Trinitas.
In fact, David Josephson labels a "suscipion" of Byrd's
homage to Taverner in pointing out the similarity of the
sections in each of the respective works.10 Byrd's work is
written in a much more compressed, imitative style than
Taverner's prototype, but the similarity in opening and
cadential gestures indicates that Byrd was modeling his work
on the Taverner example (Example 3).
^Buck et al.
®E.H. Fellowes, ed., The Collected Vocal Works of William Byrd, vol. 1, (London: Stainer and Bell, 1937), 110-111.
^Weidner, 3 9-42 .
lOphilip Brett, "Homage to Taverner in Byrd's Masses," Early Music. (April 1981) :174.
xiv
Example 3: Similarities between the 'in nomine" sections of
Byrd, Five-voice Mass (Benedictus) and Taverner, Mass Gloria
tibi Trinitas (Benedictus)
In contrast, the complete antiphon in Christopher Tye's
instrumental In nomine XIII "Trust" is presented in long
note values in the altus. Tye's style in this piece is
reminiscent of thirteenth-century rhythmic mode usage. A
quintuple metric organization with a constant pulse on the
last beat often emphasizes important pitch classes of the
cantus firmus either through repetition or ornamentation
(Example 4).
xv
jj '« J L J
Example 4: Altus voice of In Nomine XIII "Trust" by
Christopher Tye11
In Nomine Domini uses pitch and rhythmic material from
each respective model as data for computer-assisted
compositional techniques to be discussed in Chapter Two. In
fact, In Nomzne Domini is constructed as a theme with eight
variations. The -Gloria tibi Trinitas- cantus firmus serves
^Weidner, 39-42.
xvi
as the theme, and each successive variation applies a
computer-assisted compositional technique to the cantus
firmus pitch and rhythmic vocabulary (Figure 1).
I. Taverner THEME ("Gloria tibi Trinitas') VARIATION ONE [stochastic processes] VARIATION TWO [Fractals w/time points] VARIATION THREE (perpetuum mobile) ["random walk"] VARIATION FOUR (choral) [First-order Markov chain] CODA (on "Domini")
II. Byrd VARIATION FIVE [change ringing] VARIATION SIX [change ringing] VARIATION SEVEN [change ringing]
III. Tye VARIATION EIGHT (canon) [Fractal applications]
Figure 1: Formal Outline of In Nomine Domini with computer-
assisted compositional techniques
Spatial arrangement
In Nomine Domini is scored for two spatially separate
chamber orchestras labeled "Orchestra A" and "Orchestra B"
and two soloists (Figure 2).
XVI1
Orchestra K
Flute (Piccolo)
English Horn
Trumpet in C
Trombone
Percussion 1
[cowbells (3), wood blocks (3), tenor drum,
suspended cymbal, gongs (2), tam-tam]
Percussion 2
[temple blocks (5), tambourine, snare drum,
timbales, bass drum]
Horn in F (soloist)
Viola
String Bass
Orchestra B Oboe
Clarinet in Bb (Bass Clarinet in Bb)
Bassoon
Tuba
Percussion 3
[crotales (2 octave set), marimba (4+1/3),
vibraphone]
Percussion 4
[chimes (tubular bells), marimba (4+1/3),
tom-toms (3)J
Piano (soloist)
Violin
Cello
Figure 2: In Nomine Domini Instrumentation
The spatial placement of both orchestras is crucial to a
successful performance because all instruments (except
percussion) will be processed by an analog-to-digital signal
effects processor and because the resulting stereo effects
XVlll
will provide an aurally blurred scenario for the listener.
As I am primarily interested in the processed (hereafter
referred to as "wet") sound of the instrumentalists, but
recognize that unprocessed ("dry*) sound will still be
aurally apparent at the source, spatial separation of the
two orchestras will provide additional aural cues to the
listener. To this end, two arrangements are proposed. The
first arrangement, referred to as a "proscenium arch" stage,
is given in Figure 3. The second arrangement, referred to
as a "box* stage, is given in Figure 4. From my experience
with stereo effects signal processors, arrangement two will
provide the more distinctive aural cues for the listener.
&
03 m
Tub* fbo.
op <*, P!
|P2l
?9*
fpTI
Audtono*
Console
/
-4
Figure 3: Spatial arrangement #1 ("proscenium arch")
xix
Tin.
o
IS III Ell ED
Audtonn
g-,- ** s O 2- --=Sr^^ r—" O O ** o . .7- --•>< * o Jr. ~As\ o * 4 » *
Console
- - 4
Figure 4: Spatial arrangement #2 ("box')
Form
Jn Nomine Domini is constructed as a theme and
variations form based on the original 'Gloria tibi Trinitas"
antiphon cantus firmus. In the following chapter, I will
discuss the various computer-assisted techniques used to
create the musical material in each variation at length. I
have organized the variations into three distinct movements,
according to the original "in nomine* models and for
practical performance considerations. The inclusion of a
coda in the first movement may seem contradictory, but I
believe closure is necessary at this particular point in the
work. Historically, variation forms have always been
loosely defined. Regardless, my coda is simply an
xx
instrumental arrangement of Taverner's four-voice closure to
the Benedictus of the Mass Gloria tibi Trinitas on the text
-Domini- and a brief return to the original model provides
relief from the intricate material which precedes and
follows.
The second movement, -Byrd-, is constructed solely on
the well-developed historical English technique of change
ringing. Variations five, six, and seven use different
numbers of -bells- in 'plain hunt- peals, a contemporary
allusion to sacred music compositional practice in the late
sixteenth century. Change ringing will be discussed in
detail later in this chapter.
The final movement, -Tye", is a six-voice strict canon
at the interval of a perfect fifth. The dux (Example 5) is
a dorian mode fragment taken directly from measure one of
Tye's In Nomine XIII 'Trust*. The comes (Example 6) is
taken from the same source in the cantus voice (mm. 28-34) .
Exaitple 5: Dux of variation eight
xxi
Example 6: Comes of variation eight
The canon consists of six voices with each successive
voice entering at an interval of a perfect fifth higher than
its predecessor beginning with pitch-class "d" (e.g., d-a-
e-b-f#-c#). Also, each successive entry is shortened in
length. For example, the first voice (on "d") states the
dux and the comes and then repeats this material five times
(for six total statements). The second voice (on "a")
enters at the comes of voice one and states its dux and
comes five total times. All other voices follow until the
final voice (on *c#*) presents its material only once
(Figure 5).
xxn
voice 61-
voice 2
voice 4 f
dux , comma - + -
voice eama i X-
voice 3|-
voice 5
Figure 5: Structural diagram for variation eight (canon)
With the exception of variation eight, the canon
mentioned above, formal structure within each variation is
determined by the individual computer-assisted compositional
technique employed, the change ringing outline, or through
intuitive decisions.
Change ringing
Lejaren Hiller's discussion of the English art of change
ringing12 in computer-assisted composition is provocative.
l^Lejaren Hiller, "Composing with Computers: A Progress Report," Computer Music Journal. (Winter 1981) 5:15-16.
XXlll
Change ringing is the tradition of bell ringing which
flowered during the seventeenth century. The practice dates
back to the fourteenth century when swinging bells were used
to signal the appropriate hour of the Proper of the Time.
As ringing of particular sets of bells in strict order
became tiresome to the listener, permutations were devised
whereby bells could be rung in different orders ("changes"),
the most common types of which involved a "lead" bell which
would follow a course through each successive change. The
total number of possible permutations without repetition (a
"peal") is equal to the factorial of the number of bells
(i.e., with 6 bells, 6! or 6 x 5 x 4 x 3 x 2 x 1 =720).
However, in changes with a lead bell, a peal is determined
by the number of changes the lead bell requires to return to
its original position. In the case of six bells above, only
twelve of the possible seven-hundred and twenty changes are
required (Figure 6). This type of change ringing is
described as a "plain hunt".
xxiv
change l 1 2 3 4 5 6 2 2 1 4 3 6 5 3 2 4 1 6 3 5 4 4 2 6 1 5 3 5 4 6 2 5 1 3 6 6 4 5 2 3 1 7 6 5 4 3 2 1 8 5 6 3 4 1 2 9 5 3 6 1 4 2 10 3 5 1 6 2 4 11 3 1 5 2 6 4 12 1 1 2. 5 A £ 1 1 2 3 4 5 6
Figure 6: a "plain hunt" peal with a six bell set
Plain hunting produces twice as many changes as there
are bells, each bell being struck twice in each position of
the row, once on the way up and once on the way down. A
plain hunt can be written out by reversing the order of
bells in each pair of adjacent numbers. In the six-bell
example above, each of the three pairs is reversed for the
second change. For the next change, only the inner two
pairs are reversed; the remainder of the peal is completed
by alternating pairs until the original order returns.13
I have confined my compositional applications to "plain
hunting* in variations five, six, and seven of In Nomine
Domini. Variation five uses a three, six, and twelve bell
-^Wilfrid G. Wilson, "Change ringing," The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (New York: MacMillan, 1980), 5:129-134.
XXV
"plain hunts" using the pitch gamut found in the Benedictus
of William Byrd's Five-voice Mass (1592) . Each "plain hunt1
is orchestrated with an instrument assuming the identity of
a "bell" (Example 7). The "plain hunts" are then
superimposed upon each other to form a convoluted
contrapuntal and timbral identity. Above this
accompanimental fabric, a rhythmically diminished twelve-
bell "plain hunt" melody is given to the soloists.
© 0
Example 7: Variation five three bell "plain hunt"
Variation six is based solely on an eight-bell "plain
hunt." The variation is built upon three strata according
to rhythmic augmentation or diminution. . The first stratum
XXVI
(crotales and chimes) consists of three continuous, complete
peals (sixteen changes) of quarter notes in simple quadruple
meter. The second stratum (mm. 80-96, 124-139 horn, via.,
bass, piano, vln.,and cello) is composed of two separate
peals of eighth notes in simple quadruple meter. Finally,
the third stratum is in a sesquitertia relationship (4:3)
with the first layer with half-note triplets re-notated in
compound quadruple meter (mm. 106-148). The resultant
structure is a ratio of 4:8:3 (Figure 7). That is, within
one whole note, four events in stratum one correspond to
eight events in stratum two and three events in stratum
three.
J J J [J J J_J-
n n n n f i r
J J [J J J fj J_ *
jy | Jhi n^J«»J JlJ" [ikji iiuiiiJ 1 I' |
Figure 7: Rhythmic ratio relationship in variation six
XXVI1
In variation seven, the soloists assume a prominent role
with the twelve-bell 'plain hunt* material presented in
variation five, and the homophonic texture is renewed with a
three bell plain hunt in the accompanimental voices.
However, this accompanimental texture defines the form for
the variation. Four complete cycles of interwoven three-
bell peals at five rhythmic levels determine the musical
course of the variation. The five rhythmic levels are
summarized in the table below {Figure 8):
Level Unit Meter A J compound dup1e (6/8)
B J simple triple (3/4)
c J- compound duple (6/8)
D J simple triple (3/4)
E J compound duple (6/8)
Figure 8: the five rhythmic levels of variation seven
The shifting orchestration of the accompaniment in
variation seven is intuitively designed to complement the
plain hunt concept applied in the pitch and rhythmic
domains. This orchestrational shifting is intended to
provide relief from the monotony of a three bell plain hunt
in a fixed group of instruments. The following figure
presents the formal relationships of variation seven
discussed above and the overall interrelationship of the
xxviii
accompanimental orchestration texture (Figure 9):
A B C D E
18 H -
36 —I—
54
-* h
l 1 I 1
—< I— -l i-
i 1
—1 I— -I i-
72
l 1
Violin Marimba
Tuba / / .0
.if
0
0
Piccolo / Bass Drum String Bass
y
s
* / / y
0 0
Trumpet / Eng. Hn.
Trombone
s s
/
* /
/ "
* y
/ Vibraphone
Oboe CeMo
/ s
* /
/ /
s Clarinet ''' Viola
Bassoon
/ Violin
Marimba Tuba
Piccolo Temple blocks
String Bass
Trumpet Eng. Hom Trombone
B
D
Figure 9: Form and orchestration design of variation seven
xxix
My application of change ringing is confined to the
"plain hunt" method, although other methods are far more
complex. Wilfrid Wilson's exhaustive explication of change
ringing discusses such methods as "plain bob," "singles,"
"grandsire," "stedman," "double norwich," "treble bob," and
many variants.14 The reader is encouraged to consult this
source as a reference for the English art of change ringing.
Lejaren Hiller's discussion of change ringing in reference
to his composition Algorithms II presents graphic
representations of computer subroutines which create three
change ringing methods: "plain bob," "bob," and
"singles."15
14Wilfrid G. Wilson, Change ringing. (New York: October House, 1965).
15Hiller, 15-16.
XXX
CHAPTER TWO
TECHNICAL PROCESSES
Stochastic processes
The application of the computer to various aspects of
music has been a compositional practice since the mid-1950s.
Common descriptive labels which specify that type of
composition in which the computer helps determinme the music
being constructed include computer-assisted composition,
algorithmic composition, computer-aided composition,
automatic composition, and systematic composition. Within
the context of this paper, I will use the term "coirqputer-
assisted composition" in a generic sense to include all of
the above labels. The use of computers to construct
aleatoric or stochastic music, in which events are generated
according to the statistical characterization of a random
process, and the use of computers to calculate permutations
of a set of predetermined compositional elements are the two
applications of computer-assisted composition employed in In
Nomine Domini. In this section, I will discuss the
stochastic applications used in In Nomine Domini . I chose
XXXI
to use a Macintosh computer running the interactive MIDI
software MAX for both types of computer-assisted
composition.1
Variation one of In Nomine Domini is constructed with a
stochastic process decribed as a simple averaging of two
discrete, uniformly-distributed random numbers.2 This
process is an analog of a digital sound-synthesis algorithm
designed by Kevin Karplus and Alex Strong3 and explicated
by Dodge and Jerse.4 In this process, a series of
uniformly distributed random numbers is generated with each
successive pair of numbers summed, then averaged (Figure
10) .
#: 9 13 5 3
avg: 11 4
Figure 10: Random numbers with simple averaging
I designed a MAX patch which would accomplish this task
filler Puckette and David Zicarelli, MAX: an interactive graphical programming interface, (Paris: IRCAM/Opcode Systems, 1991).
2Rodney Waschka, Let Me Make it Simple for You, (Denton, TX: University of North Texas, 1990), 1-3.
3Kevin Karplus and Alex Strong, "Digital Synthesis of Plucked-String and Drum Timbres,* Computer Music Journal, (Cambridge: MIT Press, 1983), 7 (2):424-431.
4Charles Dodge and Thomas Jerse, Computer Music: Synthesis, Composition, and Performance, (New York: Schirmer, 1985), 238-240.
XXXIX
and generate a series of up to ten averaged numbers between
zero and twelve, excluding the numbers three and eight
(Figure 11) . This data was then used in the pitch class and
rhythm domain of variation one. All pitch class data
corresponded to the pitch classes chosen by John Taverner in
the Benedictus of his Mass Gloria tibi Trinitas. Rhythms
were plotted according to duration with either the sixteenth
or eighth note as the basic rhythmic unit. For example, a
stream of ten averaged numbers ( 5 6 5 5 5 11 5 9 2 2 ) would
represent pitch classes f-f#-f-f-f-b-f-a-d-d, and the
rhythmic series , given
the eighth note as the basic rhythmic unit.
IlifttlQ
court cr nrm
mnoott 13 I Irindon 13
Figure 11: Simple averaging MAX patch used in variation one
XXX1X1
Fractal applications
Fractal geometry, a field of mathematics proposed by
Benoit Mandelbrot5, attempts to describe forms that were
previously dismissed as "amorphous." Through the computing
of fractal relationships, artists have been able to make
immeasurably more realistic computer realizations of such
natural forms as mountain ranges, coastlines, archipelagos,
and plants.6 Composer Larry Austin is an example of such
an artist who uses the computer to calculate natural
fractals in order to construct a work that evokes the
physical properties of his sonic image.7
One of the simplest fractals, the Koch snowflake, is a
member of a class of fractals called space-filling curves.
The Koch snowflake is made by adding to an equilateral
triangle three more equilateral triangles of smaller scale,
one to each side. When this recursive procedure is applied
an infinite number of times, the resulting serrate edge
surrounding the figure becomes infinitely long.8 The Koch
5Benoit Mandelbrot, The Fractal Geometry of Nature, (New York: W.H. Freeman, 1982).
6R.F. Voss, "Fractals in Nature: from Characterization to Simulation," The Science of Fractals, (Berlin: Springer-Verlag, 1988).
7Larry Austin, Canadian Coastlines, (New York: American Composers Alliance, 1981).
8Charles Dodge, "Profile: A Musical Fractal," Computer Music Journal, (Cambridge: MIT Press, 1988), 12(3):10-14.
XXXIV
snowflake exhibits a property called self-similarity—the
same shape projected on different scales. Self-similarity
is a property shared by all fractals (Figure 12).
Figure 12: the Koch snowflake
A phenomenon closely related to self-similarity is 1/f
noise. 1/f noise is a member of a class of random phenomena
known as fractional noises, which includes white noise
(1/fO) and Brownian noise (1/&). Mandelbrot and others
have discovered that 1/f noise pervades much of nature and,
in fact, can be linked to long-term characteristics of much
Western music. Musical details often mirror the large-scale
structure of a composition; they are, in essence, self-
similar. 1/f music correlates more strongly to the
immediate past than white noise and more strongly with the
distant past than does Brownian noise. Algorithms for
computing music with 1/f noise have been published by
XXXV
Voss9, and Dodge and Jerse.10 Voss's algorithm is applied
in In Nomine Domini in variation two to the pitch and rhythm
domains, in variation three to textural choices, and in
variation eight to articulation choices. Waschka gives an
excellent linguistic translation of Voss's 1/f algorithm11:
1. In binary notation, write out the decimal
numbers 0-7.
2. Assign each digit to represent a six-sided
die.
3. Roll all three dice for the "0" state.
4. Add the dice numbers; output the sum.
5. Go to the next binary number and compare it
to the previous number.
6. If a digit has changed from 0 to 1 or from 1
to 0, roll the die associated with that
digit.
7. Add the dice numbers; output the sum.
8. Check to see if this is the last binary
number (if no, go to step 5, if yes, stop).
For clarification, a sample of the output is reprinted in
Figure 13:
^R.F. Voss and J. Clarke, "1/f Noise in Music: Music from 1 If Noise, * Journal of the Acoustical Society of America, (New York, 1983), 63:258-263.
10Dodge and Jerse, Computer Music, 290. 1:lWaschka, Let Me Make it Sinqole for You, 5.
XXXV1
BINARY #s PROCEDURE RESULT sm 0 0 0 roll all three dice 5 + 3 + 4 = 12 0 0 1 roll die #3 only 5 + 3 + 2 = 10 0 1 0 roll dice #2 and #3 5 + 6 + 3 = 14
0 1 1 roll die #3 only 5 + 6 + 4 = 15
1 0 0 roll all three dice 2 + 1 + 3 = 6
1 0 1 roll die #3 only 2 + 1 + 4 = 7
1 1 0 roll dice #2 and #3 2 + 2 + 5 = 9
1 1 1 roll die #3 only 2 + 2 + 1 = 5
OUTPUT: 12 10 14 15 6 7 9 5
Figure 13: Waschka's translation of Voss's 1/£ algorithm
with sample procedure and output
Using Waschka's transcription as a model, I created a MAX
patch designed to fulfill the characteristics of 1/f noise
(Figure 14). In variation two, the output from this patch
was printed and then systematically applied as pitch data
with integers from three to eighteen using a modulo twelve
system for pitch identification (i.e., 12=0, 13=1, 14=2,
etc.). Another similar data stream was then used to
determine the time-point location of successive pitches.
xxxvn
rrr^iam
[nJceMSB
^ 0 ^ S m \ / 0 * 2 ^ Dit 3
InnHom f I |raix»o« 7 | |rando» 7 |
R a ^ n m Ml tot 3 19 1
rnr.rmmrr.rmm
Figure 14: MAX patch for generating 1If data
In variation three, textural choices were made by
assigning numbers to available instruments in score order
(one through eighteen) and using the 1If data stream to
determine the orchestration for four different rhythmic
strata. An examination of the sixteenth-note rhythmic
stratum throughout variation three will reveal the self-
similar nature of the data stream. The texture begins with
the horn (performer #7), changes to the vibraphone
XXXVlll
(performer #14) in meas. 89, moves to the violin (performer
#17) in meas. 92, and continues in this manner throughout
the variation. 1/f data also determined the nature of the
three other rhythmic strata (half-note, quarter-note, and
eighth-note) throughout the variation.
As with Figure 11, the self-similar 1 / f MAX algorithm was
modified to exclude all instances of the numbers three (3),
eight (8), and fifteen (15). These numbers would produce
pitch data which was incompatible with the Taverner model.
In addition, data streams were limited to only ten numerals
in accordance with the ten available pitch classes used by
Taverner.
Conditional probabilities
The second type of computer-assisted compositional
technique used in In Nomine Domini involves the creation of
conditional probability environments, also referred to in
the computer music literature as Markovian processes or
transition tables.12 Conditional probabilities differ from
stochastic processes in that the probability of obtaining a
result is dependent upon past results; stochastic processes
generate results that are independent of past results.
Thus, a sequence generated by conditional probabilities has
some degree of apparent relation between the numbers of the I2Dodge and Jerse, Computer Music, 283.
XXXIX
sequence. There are three fundamental techniques of
conditional probabilties used in computer-assisted
composition: "random walks," Markov chains (transition
tables), and processes that are specified in terms of their
spectra. In Nomine Domini employs two techniques: a "random
walk" algorithm and a Markov chain process.
Variation three uses the "random walk* algorithm to
generate data for its pitch domain. A close examinination
of the horizontal melodic lines in mm. 86-89 will reveal a
wandering line with small intervals separating successive
pitches and an apparently unpredictable sense of direction.
This is a classical description of a conditional probability
that is limited in terms of its boundaries, the distance of
each step toward a boundary, and by having an "elastic"
boundary (i.e., movement is not terminated when a boundary
is reached; rather, the movement is rebounded into the
possible range of choices),13 An analogy to such a
condition portrays a man who begins at the middle rung of a
five-rung ladder (which has each rung numbered from zero to
four with zero being the lowest rung). The coin is tossed
to determine the direction he will travel one step, with
"heads" indicating one step up and "tails" indicating one
step down. As he is on the middle rung (rung #2) the
probability he will travel to the lowest rung (rung #0) with
13Dodge and Jerse refer to this scenario as a "controlled random walk".
xl
one toss of the coin is zero, as he is limited to climbing
only one rung in either direction. The probability that he
will climb up (or down) one rung is .5 (50%) and the
probability that he will stay on the same rung is zero, as
he must move with each toss of the coin. If he is on the
top-most rung (rung #4), the probability that he will climb
down one rung (rung #3) is one (100%), as he must move with
each toss, there are no higher rungs on the ladder, and the
boundary is "elastic."
In Nomine Domini implements a slightly more sophisticated
"random walk" in variation three. A MAX patch was designed
that would construct data streams exhibiting "random walk"
behavior within the following parameters: 1) pitches
selected at random but confined to a range of twelve
semitones or less, 2) the size of the melodic interval
limited to five semitones or less, and 3) all instances of
pitch class three (3) or eight (8) filtered out (Figure 15).
These data streams were then applied to fixed rhythmic units
r = L P 1In • I'M
>12
Emu* EZX3U1
UZZMM
1ZMM
Figure 15: MAX patch for generating "random walk" data
xli
The second type of conditional probability used in this
dissertation is the Markov chain or transition table. For
purposes of this discussion, I will limit myself to a
description of first-order Markov chains—Markov chains
dependent upon consideration of only one past event. In
Nomine Domini uses a first-order Markov chain in variation
four in the pitch domain. Pitch choices were taken from the
cantus firmus of the Taverner model (nine pitches in the
dorian mode — cl-d2-e-f—g-a-b^-c2-d2). A statistical
analysis of it was then performed to determine the
percentage data for a transition table (Figure 16). The
table is read by reading the initial state on the "y" axis
(e.g., CI) and then reading horizontally along its row to
determine the percentage chance of a resultant state (the
"x" axis) . For example, from the CI initial state, we can
determine that the Dl resultant state will occur 50% of the
time. Another pictorial representation of the Taverner
cantus firmus Markov chain is given in Figure 17.
xlii
0 0
£1 El fi E fi CI 0 50% 0 50% 0 Dl 33% 50% 0 17% E 0 100% 0 0 F 0 9% 9% 27% 55% G 0 0 0 45% 9% A 0 0 0 6% Bb 0 0 0 0 C2 0 0 0 0 D2 0 0 0 0
A 0 0 0 0 46%
24% 53% 0 0 0
fib 0 0 0 0 0 6%
100% 0 66% 0 0 0
£2 0 0 0 0 0 11% 0 0
Dl 0 0 0 0 0 0 0 34%
100% 0
Figure 16: Transition table data for cantus firmus of
Taverner Mass Gloria tibi Trinitas (Benedictus)
100% H l B h r , a w « d
Figure 17: Markov chain state diagram
xliii
Using this analysis data, a MAX patch was designed that
would generate new pitch material with inter-relationships
similar to the "Gloria tibi Trinitas" antiphon. (A portion
of this patch is shown in Figure 18.) This pitch material
was then used to construct the chorale in variation four.
Each phrase of the chorale was uniformly constructed with
ten pitches.
S3
grrikjnrRRQ
fan EED E
En
M M-JI I
is
RBcrran
ED BSSSSESESSS31 EE3 EZZD
Figure 18: partial Markov chain MAX patch
xliv
Interactive Computer Music Systems
According to Robert Rowe, interactive computer music
systems "are those whose behavior changes in response to
musical input."14 His three-tiered classification system
is an excellent codification model for this otherwise ill-
defined recent field of musical research. The first
classification system distinguishes between score-driven and
performance-driven systems:
Score-driven programs use predetermined event
collections, or stored music fragments, to match
against music arriving at the input.
Performance-driven programs do not anticipate
the realization of any particular score. In
other words, they do not have a stored
representation of the music they expect to find
at the input.15
The second classification system groups response methods
as being transformative, generative, or sequenced:
Transforative methods take some existing musical
material and apply transformations to it to
produce variants. The source material need not
be stored...often such transformations are
applied to live input as it arrives. Generative
algorithms, on the other hand, use sets of rules
to produce complete musical output from stored
14Robert Rowe, Interactive Music Systems, (Cambridge: MIT Press, 1994), 1.
15Ibid., 7.
xlv
fundamental material. Sequenced techniques use
prerecorded music fragments in response to some
real-time input.16
The last classification distinguishes between instrument
and player paradigms:
Instrument paradigm systems are concerned with
constructing an extended musical instrument:
performance gestures from a human player are
analyzed by the computer and guide an elaborated
output exceeding normal instrumental response.
Systems following a player paradigm try to
construct an artificial player, a musical
presence with a personality and behavior of its
own, though it may vary in the degree to which
it follows the lead of a human partner.17
In Nomine Domini utilizes a commercial analog signal
processor controlled by a Macintosh computer running MAX
software in real-time. Audio signals from the performers
are transduced into the analog domain through microphones
and then received by the signal processor (in this case, an
Ensoniq DP4). Simultaneously, MIDI (Musical Instrument
Digital Interface) controller signals are sent from the
computer to the signal processor, where they process
parameters of the audio signal in real-time (Figure 19).
While not a complete interactive computer music system as
described by Rowe and Winkler,18 this system does iirqplement 16Ibid., 7. 17Ibid., 8. 18Todd Winkler, "Interactive Signal Processing for
xlvi
two-thirds of their recipe—processing and response.
Implementation of the remaining portion, sensing, could be
achieved with a pitch-to-MIDI convertor, but such devices
are often inaccurate and expensive. The ideal
implementation of the system used in In Nomine Domini would
be to avoid the MIDI protocol (with all of its bandwith and
transmission limitations) and process the audio signal in
the digital domain in real-time. Such systems require an
expensive high speed digital processor (Motorola 56000-
series, Intel i860, or RISC architecture), which is often
not a viable financial alternative for computer music
practitioners.
Processing and Response audio signal (voltage)
Cdry-}
signal processor
— r ~ —
MIDI controller signal
alered audio signal Own
Figure 19: Processing and response stages of interactive
computer music system used in In Nomine Domini
Acoustic Instruments," Proceedings of the International Computer Music Conference, (Montreal, 1991), 545-548.
xlvii
Therefore, according to Rowe's classification system, In
Nomine Domini can be described as a performance-driven
program (computer-driven gestures are not stored or reliant
upon a score, but are dependent upon performance input)
using a tranformative method (real-time timbre alteration
with a signal processor driven by the computer) in an
instrumental paradigm (musical gestures from the
instrumentalists are analyzed by the signal processor, which
creates an extended instrumental output).
In order to inplement real-time control of the processing
and response portions of this interactive computer music
system, a software algorithm was created in MAX (Figure 20).
This particular MAX patch is a three-level patch with two
subpatches embedded within the front patch. The topmost
level consists of general operative controls and elapsed
time information (a "docker" object displays elapsed-time
in milliseconds) . In Nomine Domini is designed to have
eight continuous MIDI controllers in simultaneous operation
in each variation. Notice that there are eight variation
"patcher" objects on the topmost level and that each
corresponds to a middle-level subpatch. Each middle-level
subpatch contains eight more subpatches that contain the
various stochastic or fractal algorithms for driving the
continuous MIDI controllers (Figures 21 and 22). A complete
listing of MAX patches from the highesjt to lowest levels is
xlviii
included in Appendix A.
In Nomine Domini
RESET
0
Note: This front panel is designed to interface with an Ensoniq DP4 parallel effects processor in a 1U configuration mode. See accompanying documentation for specific description of parameter effects.
r0
0
0
0
0
0
click here to start or stop
• • • • [ p a S S h w v ^ T ]
•
• •
Figure 20: MAX front panel patch
xlix
A: 8 VOICE CHORUS
B: FLANGER
C: PITCH SHFT1R
I"! [patch
•
• •
J * I if $i1« i
D:PANNER
• • • E r a ]
Figure 21: A MAX middle-level subpatch
u
L T 1 U
Figure 22: A MAX lowest-level subpatch
In addition to designing the MAX patch which would
control the signal processor in real-time, the signal
processor itself was configured with eight custom-designed
effects (one for each variation). Controller information
had to be mapped to appropriate parameters within each
effect. The signal processor chosen for In Nomine Domini,
an Ensoniq DP4, was configured in a single-unit mode (i.e.,
the audio signal traveling through four digital signal
processors in series before exiting the unit). An example
of a single-unit effect is shown in Figure 23. During a
performance, the electronics technician will advance the
system to the next effect with a control-voltage pedal at
the specified point in the beginning of each variation.
This cue is located in the center of the score with an arrow
pointing to a text decription of the following MAX patch
(e.g., "MAX: [VAR.3]"—the signal processor effect label
being similar). Therefore, the electronics assistant will
first advance the signal processor and then click with a
mouse on the appropriate button in the MAX front panel. A
complete list of self-designed effects is presented in
Appendix B.
li
A B c D Pitch Shifter -DDL PhchShifter-DDL Pitch Shifter-DDL Pitch Shifter-DDL
01 MIX 01 MIX 01 MTX 01 MIX 02 Volume 02 Volume 02 Volume 02 Volume 03 Vcl P<b Shft 03 Vd Pch Shft 03 Vd Peb Shft 03 Vcl Feb Shft 04 V d Feb Shft Fine 04 Vcl Feb Shft Fine 04 Vd Feb Shft Fine 04 Vcl Feb Shft Fine 03 Yd Peb Shft Lrl OS Vd Pch Shft L* 05 Vd Pch Shft LTI 05 Ycl Peb Shft LYI 00 VdPebShftPitt 06 Vd Feb Shft Pan 06 Yd Peb Shft Fan 06 Vcl Pch Shft Pxt 07 Vc2 Peb Shft 07 Yc2 Feb Shft 07 Vc2 Pch Shft 07 Vc2 Peb Shft 08 Vc2 Pch Shft Fine 00 Vc2 Feb Shft Fine 08 Vc2 PA Shft Fine 08 Vc2 Feb Shft Fine 09 Vc2PebShftL*l 09 Vc2 Feb Shft Lvl 09 Vc2 Pch Shft Lrl 09 Vc2 Feb Shft Lvl 10 Vc2 Pch Shft Pan 10 •c2 Feb Shft Fan 10 Vc2 Pch Shft Fan 10 Vc2 P<b Shft Fan 11 Pch Shft Diy DDL 11 Feb Shft Day DDL 11 Pch Shft Diy DDL 11 Pch Shft Dxy DDL 12 Pch Shft Lft Tin* 12 Feb Shft Lft Time 12 Pch Shft Lft Time 12 Pcb Shft Lft Time 13 FchShftRtTtau 13 Peb Shft Rt Tin* 13 Pch Shft Rt Time 13 FchShftRt Time 14 PchShftDlyMix 14 Feb Shft DXyMix 14 Peb Shft Dly Mix 14 Pcb Shft Dly Mix 15 Pch Shft Dly Rega 15 FebShft Dly Rega 15 Pcb Shft Dly Regn 15 Pcb Shft Dly Rega 16 Modi Sic»MIDI3 16 Modi SzcaFcbBnd 16 Modi Sxc«MIDI5 16 Modi Sic*volumc 17 Modi Faxamp04 17 Modi PaxaartB 17 ModlFazamri* 17 ModlPaxaoa^l2 18 Modi Range Mia 18 Modi Range Mia 18 Modi Range Min 18 Modi Range Mia 19 Modi Rang< Mix 19 Modi Range Max 19 Modi Range Max 19 Modi Range Max 20 Mod2 Sic«MIDI4 20 Mod2Sxc-Mod«d 20 Mod2Sxc-MIDI6 20 Mod2 Sic«pannez 21 Mod2 FaxampaOO 21 Mo42FaxaRikp05 21 Mod2Faxam»10 21 Mod2Paxatn»13 22 Mod2 Range Mia 22 Mod2 Range Mia 22 Mod2 Range Mia 22 Mod2 Range M1a
23
Mod2 Range Max 23 Mod2 Range Max 23 Mod2 Range Max 23 Mod2 Range Max
Figure 23: An Ensoniq DP4 single-unit effect
Aesthetic rationale
Interfaces that cross the boundaries between humans and
machines have presented fascinating compositional
possibilities and exciting aural experiences for me
throughout my graduate education. As I am formally trained
as an acoustic instrumental performer, I appreciate the
expressive nuance and musicality that skilled human
performers can bring to the creative process. Similarly,
through formal training in computer-music compositional
lii
techniques, I am aware of a brilliant sonic landscape that
is available through applications of technology to music.
My musical aesthetic, therefore, is based upon an
interactive collaboration between humans and machines where
the strengths of both worlds are fused to form new musical
constructs. These constructs equal or transcend the
expressivity of either "machine-generated" or "human-
generated" musical compositions. In the future, I will
perhaps compose music for an interface that will narrow the
distinction between human and machine even further (possible
in the near future because of present research in artificial
intelligence). Certainly, with the ubiquitous nature of
computers in our present society (especially their
incorporation into the fine arts), we are on the brink of
musical invention. The prophecies of such musical
visionaries as Varese, Ives, Cage, and Boulez have only
begun to be realized. Human performers will still exist as
a central part of the musical equation, but those composers
who implement real-time interactivity between humans and
powerful computers will be the subject matter of the next
chapters in musical history. Indeed, if art reflects the
values of society, I cannot imagine musical perfromance
continuing to ignore the implications of present-day
computer technology. For most composers, computers already
dominate music manuscript production. For the past thirty-
liii
five years, pioneers in all genres of computer music have
been engaged in technological/musical experiments with high
degrees of success. Twenty-first century musicians will be
forced to adapt to the impetus of technology; musicians
should interact rather than react.
liv
APPENDIX A
MAX PATCHES
l v
Front Panel:
In Nomine Domini
RESET
13
Note: This front panel is designed to Interface with an Ensoniq DP4 parallel effects processor In a til configuration mode. See accompanying documentation for specific description of parameter effects.
0
0
0
0
0
0 r0
click here to start or stop
f~ ] (patcher valr"
n EEHEZn
• | patcher var.S
•
Patcher var.l:
• A: EQ -
BeFUNQER
C: PITCH
OPANNER
• n •
• • n ESEEi^Esil]
n
fTfTiiTTlftTTi
I H B 3 S «2000 than
lvi
P a t c h e r v a r . 2
B A; PFTCH SHFTER
BTTNVERSE EKWGBT
C: PHASER DCL
DRPANNER
• U O U I
• IPMCHF U I
n •
• •
M l H i I l l O l
!•? 111,! ' I M
I
P a t c h e r v a r . 3
B A: PITCH SHFTBL
B: PITCH SHFTER
C: PITCH SHFTER
0: PITCH
• I P * * * * * " » I
• I U U U R I
a IWTCU F>kd.UN<i |
• R I F I N I I R N I
n
! -Jtf $11 —
55000 THEN A J
P a t c h e r v a r . 4 ;
B
B * VOICE CHORUS
CM VOICE CHORUS
D: PARAMETRIC
R
^rrmiTrm
KRR,T!W?R»
L 50000 M N H D
l v i i
Patcher var. 5:
B A: BQ-
BJEQ TUB DDL
C: SMALL ROOM
D: 6 VOICE
• UUfliw I
n raa—«a—ri ipj jCTwrpronojnaj
• • •
m ^ i T T i i r r B
r r F ^ n i
•
L msnsn
Patcher var. 6
B A.FUMO0I
B:EQ-FIANGER-o a
C: FITCH.
DC INVERSE
• iPrtoiw | " 3
n
r r F . i u i i i T *
F r E i T T T M
— P W W W
|rtr ]7 »BS[K5Ll
Patcher var. 7
A: BO-
OS VOICE CHORUB
C: HALL
D: VCF -
n
n I2552S3 •
ESEESEEEEl n
O EEE3E3
• bUmJU I
O GEE525E3
•
Iviii
Paccner var. 8:
H • 1
APARAMETWC
C: PARA-MET11CEQ
De SPEAKER CABINET
t -I if it — :
n
• • ! vVliTTMkiJi
FTFJWTM
11
(The following patchers belong within patcher var.l only -- successive variation patchers are similar)
Patcher three:
fnnTTMiri JKKBmTuiS
tn Ml ngiii vn
J
attribution
Patcher four:
% THSP IranJom m\ I
iMnbdi * 0.S« 55.450001
LLi 'IIIAIMI'A ATIkill)]
lix
Patcher pitchbend:
Patcher modwheel:
10.
wrm
dtotritoutloii
Patcher five: of all valuM
110
r7^-m' >0.021
Votarl Una
cnacnERiflm
lx
Patcher six:
Patcher volume:
Patcher panner:
Eiill'Il distribution batwatn -50 and +50
r*3n vo2«IM
J Imp 1 h S S C I
£ ISBSnSBFTBTI oontroM random
M m Br w M l m
NoMt /\
T L Eft 1 W M 1
• fanosof 0-2000 and a stop valua of 0-M
lxi
APPENDIX B
Ensoniq DP4 effects settings
lxii
v a r . 1:
A B c D EQ - Compressor Flaagcr Pitch Shifter-DDL KJ-Paona-DDL
01 MIX 01 MIX 01 MIX 01 MIX 02 Volume 02 Volume 02 Volume 02 Volume 03 Compressor Gain 03 LFOxate 03 Vcl FtfiShft 03 Panne x Rate 04 Comp. Ratio 04 LFOvidth 04 VclPdiShftFine 04 Pannex Width. 05 Threshold 05 Flange Centex 05 VdPchShftLvl 05 L/RLFO 06 Gaia Change 06 Flange Regen 06 VdPdkShftPan 06 Pan Samp dt Hold 07 CocrpAttack 07 Modi SxaPchBnd 07 Vc2PdiShft 07 Pannex LDlyTirae 08 CocnpRelease 08 ModlPaxam*03 08 Vc2PdiShftFine 08 Pannex RDlyTime 09 Noise Gate Off 09 Modi Range Min 09 Vc2PchShftLvi 09 Pannex Regen 10 Noise Gate On 10 Modi Range Max 10 Vc2 PdiShftPan 10 PanLEdio Time 11 Gate Release Time 11 Mod2 SxcaModtarl 11 PchShftDxyDDL 11 Pan REcbo Time 12 Bass Center Freq 12 Mod2 Faraocws04 12 PchShftLftTirae 12 Pannex Echo LvL 13 EQ Gain 13 Mod2 Range Min 13 PchShftRt Time 13 Bass Cent fxeq. 14 Treb. Centex Fxeq 14 Mod2 Range Max 14 PchShftDlyMix 14 Bass EQ Gain 15 EQ Gain 15 P&ShftDty-Regn 15 Txdb. Cent fxeq. 16 EQ Input Ivl. trim 16 Modi Sxc»MIDI5 16 Txeb. EQ Gam 17 ModlSxc»MIDI3 17 Modi Paxamp04 17 EQ In LvL trim 18 Modi Faratifc3l2 18 Modi Range Min 18 Modi Sxcmolume 19 Modi Range Min 19 Modi Range Max 19 Modi Paxam?03 20 Modi Range Max 20 Mod2Sxc*MIDI6 20 Modi Range Min 21 Mod2 Sic=MIDI4 21 Mod2Parara?=08 21 Modi Range Max 22 Mod2 Faxamffl4 22 Mod2 Range Mm 22 Mod2 Sxc« pannex 23 Mod2 Range Min 23 Mod2 Range Max 23 Mod2 Paxampi09 24 Mod2 Range Max
Mod2 Range Max 24 25
Mod2 Range Min Mod2 Range Max
l x i i i
v a r . 2 :
A B c D Pitch Shift-DDL Inverse Expaader Phaser-DDL EQ-Pacmer-DDL
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SOURCES CONSULTED
Austin, Larry D. Canadian Coastlines. New York: American Composers Alliance, 1981.
Austin, Larry, and Thomas Clark. Learning to Cojnpose. Dubuque, Iowa: William C. Brown, 1989.
Bolognesi, Tommaso. "Automatic Composition: Experiments with Self-Similar Music." Computer Music Journal 7(1) (1983): 25-36.
Brett, Philip. "Homage to Taverner in Byrd's Masses." Early Music (April, 1981): 169—176.
Buck, P.C., E.H. Fellowes, A. Ramsbotham, R.R. Terry, and S.T. Warner, eds. Tudor Church Music. London: Oxford University Press, 1923.
Carter, Elliott. Double Concerto for Harpsichord and Piano. New York: Associated Music Publishers, 1961.
Dodge, Charles and Thomas Jerse. Computer Music: Synthesis, Composition, and Performance. New York: Schirmer Books, 1985.
Dodge, Charles. "Profile: A Musical Fractal," Computer Music Journal 12(3) (Fall, 1988): 10—14.
Doe, Paul. "The Emergence of the In Nomine: Some Notes and Queries on the Work of Tudor Church Musicians," chap, in Modern Musical Scholarship. Boston: Oriel, 1980.
Fellowes, E.H. The Collected Vocal Works of William Byrd. London: Stainer and Bell, 1937.
lxxi
Hiller, Lejaren. Experimental Music. New York: McGraw-Hill, 1959.
. "Composing with Computers: A Progress Report' Computer Music Journal 5(4) (Winter, 1981): 7—16.
Jones, Kevin. "Compositional Applications of Stochastic Processes," Computer Music Journal 5(2) (Summer, 1981) : 45-61.
Lippe, Cort. Music for Sextet and ISPW. Centaur Records, CDCM Computer Music Series, vol. 21, 1994.
Karplus, Kevin and Alex Strong. "Digital Synthesis of Plucked-String and Drum Timbres," Computer Music Journal 7(2) (1983): 424-431.
Mandelbrot, Benoit. The Fractal Geometry of Nature. San Francisco: Freeman and Co., 1982.
Moore, F. Richard. Elements of Computer Music. New York: Prentice-Hall, 1990.
Puckette, Miller, and David Zicarelli. MAX: an interactive graphical programming interface. IRCAM/Opcode Systems, 1991.
Randel, Don Michael, ed. The New Harvard Dictionary of Music. Cambridge: Harvard University Press, Belknap Press, 1986.
Rowe, Robert. Interactive Music Systems. Cambridge: MIT Press, 1994.
Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. New York: MacMillan, 1980. S.v. "Taverner," by Roger Bowers and Paul Doe.
.. The New Grove Dictionary of Music and Musicians. New York: MacMillan, 1980. S.v. "Tye, by Paul Doe.
lxxii
The New Grove Dictionary of Music and Musicians. New York: MacMillan, 1980. S.v. "In nomine," by Warwick Edwards.
.. The New Grove Dictionary of Music and Musicians. New York: MacMillan, 1980. S.v. "Change ringing," by Wilfrid G. Wilson.
. The New Grove Dictionary of Music and Musicians. New York: MacMillan, 1980. S.v. "Byrd,* by Joseph Kerman.
Voss, R.F. "Fractals in Nature: from Characterization to Simulation," H.O. Peitgen, and Dietmar Saupe, eds., The Science of Fractal Images. Berlin: Springer-Verlag, 1988.
Voss, R.F., and J. Clarke. "1/f Noise in Music: Music from 1If Noise," Journal of the Acoustical Society of America 63 (1983): 258-263.
Waschka, Rodney II. Let Me Make It Simple For You. D.M.A. diss.. University of North Texas, 1990.
Weidner, Robert W., ed. Christopher Tye: The Instrumental Music. New Haven, Conn.: A-R Editions, Inc., 1967.
. "The Early In Nomine: A Genesis of Chamber Music." Ph.D. diss., Eastman School of Music, 1961.
. "The Instrumental Music of Christopher Tye, Journal of the American Musicological Society 17 (3) : 363-370.
Wilson, Wilfrid G. Change ringing. New York: October House, 1965.
lxxiii
Winkler, Todd. 'Interactive Signal Processing for Acoustic Instruments.* In Proceedings of the International Computer Music Conference. Montreal International Computer Music Association, 1991, 545-548.
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Tim Crowley
In Nomine Domini 1995
Tim Crowley
In Nomine Domini 1995
for horn and piano soloists and two chamber orchestras
I. Taverner Theme Variation 1 Variation 2 Variation 3 (perpetuum mobile) Variation 4 (chorale) Coda
II. Byrd Variation 5 Variation 6 Variation 7
III. Tye Variation 8 (canon)
Duration: approximately 18 minutes
Dedicated to Ann Dillow Crowley
© Copyright 1995 by Tim Crowley All rights reserved.
Performance Notes:
1) Accidentals apply throughout the measure.
2) The piano lid must be removed to allow eye contact between performers and conductor.
3) In Nomine Domini requires an electronics engineer and extensive technical preparations. Please allow at least six hours of preparation time prior to a performance.
4) Performance of this work requires an Ensoniq DP4 parallel effects processor, a sixteen-channel mixer with four output busses and two auxiliary effect sends, four dynamic microphones with cardioid amplitude response, three condensor microphones with omnidirectional amplitude response, two boundary (PZM) microphones, a control-voltage pedal, a Macintosh with 8 MB of RAM running system 7.1 and MAX2.2* interactive programming environment, MIDI interface, MIDI and 1/4" cables, two amplifiers, and four high-quality speakers (at least 500 watts/channel and 35-18,000 Hz frequency response). Additional sound reinforcement gear is recommended (e.g., equalizers, compressor/limiters, and gates). The four speakers should be in a direct line with each other (see diagram) and should be at least 60" high, so that the signal will be placed above the audience's ears.
5) A small arrow pointing to a text decription in the center portion of the score such as "(MAX: VAR. 2]" indicates to the engineer to advance the Ensoniq DP4 signal processor by one program with the control-voltage foot pedal and to engage the corresponding MAX patch.
6) The score is divided into two orchestras, labeled "A" and "B", and all pertinent conductor's information is printed above both orchestras. Each orchestra is arranged in traditional score order, with the soloists appearing above the strings.
7) SPATIAL ARRANGEMENT: the placement of both orchestras, conductor, engineer with all electronic equipment, speakers, soloists, and audience is crucial to a proper performance of In Nomine Domini. Two arrangements are proposed in the following pages: 1) for a standard "proscenium-arch" stage, and 2) for a square "box" theater. Optimal audience listening location is the primary goal; all other performance factors are secondary.
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m
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Ci*.(B.CL)inBb
am
Tiim
P§m. $
Pms. 4
«ti*M
m.
Q*Bq
•) ^ T
T — j
1 fet
wf
hy> — H • *
if — ni = r
r jjM
•HI 1 I' -— *J 1
Fjr'rTTT.: \ r: ; , fFn
4, *— f» " !
1
I |J ~~ k -j * i ' 1
4 - — I - — = M • . L 1 [J. | • — *' v I
i • 1 f •••• •• ' "#SSS
rg. «*'
m
J p . ptiz ± Lgtfer |.
MOO
V#
moo s j
m
J ./fa --n~T
-14-
In Nomine Domini - Tavemer
Pmc.2
m
PUC.3
Pmo.4
a*r.(B.Cl)inBb
-15-
in Nmwm Doom - Tmmmm
FlfPbeJ
EM
TptktC
Tbn,
HthkiF
Chr.(B.CL)mBb
B Pma $
Pms. 4
- H •% 1 s " = i 4 i , L - v ^ j
l h> i t#- • i w ^ ±
siildj
• ie-
In Nomine Domini - Tmmmer
FL(PkK)
EH.
TptinC
Tbn
Pmo.1
Pmc. 2
Hn. in F
Vkt.
Ob.
Clar. (B. CI) in Bb
Bmt
Tub*
Putt. 9
PfC. 4
Piano*
Vln.
Mo
i r
JP 1 - —
f
• • 1
r r r =
• — i " —
« • = = * , 1 I ,
$ — - _ j — —
• 4 ^ ' • > " I f d
k J r — n ^
• M l H f u f ' 1 J 1 / H 1 K 1 —
T j / H J " ' j T j T l
I D
k | j j w r T j [ ^ = j
ii—
n i ' i j I f = v i , =
- L _ J
" r i * j ^
rf" 1 1—1 1 I i
1
g j £
4
fr E E E E E E E
, i
* ^
p — 2~
P
1 1 =
^ •?— =
* 1 F i 7 * 7
1 7 -
in Nomrm Domini - Tmmmr
PI (Pica)
EM
TptinC
fba
Pms. 1
PW&2
Hn.hF
Vk,.
B
Oh.
Cktr. (B. Ct) in Bb
3m
mm
Pme. $
Pme. 4
m
GsJb
- - jt~ "•#'
I • =
| J ~ * = —
J . • E
ir =; H E T
I J
» » * * s M f i 2 C 3 j ' l r i ' J • i ' J .J-
$ * 7 j* U' w * .
• 1 8 -
In Nomine Domini - Taverner
Ft (Pico.)
TpthC
Pmc. 1
Pma.2
HftinF
Our. (R CI) in Bb
Pmv. 3
Pma 4
Pkrno
hokt until downbeat)
Cmto
- 19-
in Nomine Domini - Taverner
D VARIATION 3 J -113 (pmrpatuum mdhM)
B
FUMq (Piccolo)
EngSahHom
Trumpet mC
Tmmborm
PmHMskm 1
P&rousskm2
Hom'mP
Vioia
String Bam
(mq preface diagram for Instrument mmgfwmtta)
D Oboe
Clar. (B. CI.) m Bb
Bassoon
Tuba
Percussion 3
Percussion 4
Piano i
Vtofm
CmHo
[¥AR, 3)
I
—
0 U " ' mm - -
J = i yi^et (motor on skm)
Imodium matfets)^
^ , _ f l _ „
I ft 4
' - =—
• 2 0 -
In Nomine Domini - Taverner
Fi. (Pioc.)
EH.
Tpt. in C
Tb/x
Pa/c. 1
Pwc. 2
Hn.kiF
Via.
Bass
Ob.
(cup mute)
Clar. (B. CI.) in Bb
Ban.
3 Tuba
Pare. 3
Pans. 4
Piano <
Vki.
Catb
i . = = j
$ eeeeeee
V i — •I = = — | j
_ A
i •- i Vs f f f f «P f: ^ jt
# j
i =
• p p , u
- 2 1 -
in Nomine Domini - Tavemer
FL (Pico.}
Tpt,mG
Pam* 1
Pmv.2
Hn.mF
Bass
Ciar. (B. Ci) in Bb
Ban.
B Tuba
Pwv.3
Pare. 4
Piano
Celb
• 2 2 -
In Nomine Domini - Taverner
FL (Pbc.)
Tpt. mC
Pare. 1
Pom. 2
Hn.mF
Bass
Clar. (B. Ci.) in Bb
Perc. 3
Pom. 4
Piano
CoUo
-23-
In Nomm Damn - Tsmmer
FL (Pico.)
EM
Tpt. in C
PWG. 1
Pwc.2
Hn. in F
Bass
Clar. (B. CI.) in Bb
B Tuba
PWG. 3
Pare, 4
Piano
CaUo
- 2 4 -
In Nomine Domini - Taverner
FL (Phc.)
Tpt.inC
(soft mam)
Paw. 1
Pare. 2
Hn. ktF
Ob.
Clar. (B. CQinBb
Ban.
Tuba
Pom. 3
Pare. 4
Piano i
Vfo.
CaMo
J ~ 1 1 1 1 ft U J - f • | j W i f
*
/
J ~ 1 1 1 1 ft U J - f
» * J
/
"a*.
-4 =
rZ 1 > -
> ^ ^
$ =
-25-
In Nomine Domini - Tavemer
PL (Pioc.)
TpL'mC
Pern. 1
P®m, 2
Hn. in F
Clar. (B. CL) in Bb
B
(mrmon mute - stem m)
fmmmaNeto)
Pare. 3
Pare. 4
Piano
CeHo
- 2 6 -
In Nomine Domini - Taverner
FL (Pioc.)
Tpt. in C
Pens. 1
Pwv. 2
Hn.inF
Clar, (B. CI.) in Bb
(medium mums)
Pete. 3
Pore. 4
Piano
•27 -
In Nomine Domini - Trnmrmr
Fl (Pioc.)
TptinG
Pom. I
Pma 2
Hn.'mF
Clar. (B. CI) in Bb
B Pw&3
Pwv. 4
Pmm<
• 2 8 -
In Nomine Domini - Tavemer
Fl (Picc.)
EH.
Tpt.inC
Tbn.
Pare. 1
Pare. 2
Hn. mF
Vk.
Bass
Ob.
(cup mut$)
Clar. (B. CI) in Bb
Bsn
Tuba
Pert. 3
Pore. 4
Piano
Vfn.
CaHo
$
(medium mallets)
• 2 9 -
in Nomine Domini - Tavemer
FL (Pioc.)
EM
Tpt,mC
Tim.
Pom. 1
Pern. 2
Hn. inF
m.
B
Ob.
Clar. (B. Ct.) in Bb
8m
Tuba
Pmc, 3
Pom. 4
Piano<
Vkt.
CeMo
(soft maHats)
I
i i 'i—i
mmrimbm(!rwdkjm matiam)
¥
-30-
In Nomine Domini - Tavemer
Fl (Pioc.)
EH.
Tpt. in C
Pore. 1
Pore. 2
Hn. in F
Bass
Clar. (B. CI) in Bb
Bsn.
marimba (hard matots)
Tuba
Pare. 3
Pore. 4
Piano
CBHO
• 3 1
in Nomine Domini - Jammer
FL (Pioc.)
T p t m C
P w ® . 1
Pw®, 2
Hn. inF
B
Oh.
Clar. (B. Ct) in Bb
B m
Tubs
P&&3
Pmm.. 4
P m m i
Vh.
Cmtio
w
p
•i = — — -
— l — pi I =H _$ \i • j—I pi I =H _$ — — « = = = ff
§
l - ,
LZ1 _ ~
32-
In Nomine Domini - Taverner
FL (Phc.)
EM
Tpt.inC
Tbfi
Pare. 1
Pare. 2
Hn.'mF
Vto.
Bass
War. (B. CI.) in Bb
* Pore. 3
Pore. 4
Piano
ft
Hp i = j - =
ft =
/hanafmalefej _
JJJ=\ FTR-i» i ^ T j T a J J s p • • J .TJ ^ r r r r y • J £
n i -1 v
C "7 7 ; V J t ^
-33-
In Nomine Domini - Tawmer
FL (Phc.)
Tpt.bC
B
Pwa 1
Pete. 2
Hn.mF
Clar. (B. CL) in Bb
ntartMwia
2 m *"•*
i
P»rc. 3
Pem. 4
Piano •
• 3 4 *
In Nomine Domini - Tavemer
(2 + 3«fmpm)
E V + 3 9*mpm) Q S ] VARIATION 4 J . a s p > « * ; FkMfPfooob)
rnriiih llnrw CryHrv FWin
Trump* in C
Trombom
Ptoumhn 1
Pmvussion2
HommF
Mote
String Bass
F
Oboe
Osr.(B.CL)inBb
3 Tuba
PmvtmionS
Pmoumbn4
Pmno*
Violin
CsBo
p^MAX:[VAR.4]
*
1
l r i
1 1 1
P
' 3 ' *
U - =
fkuMndo
- 3 5 -
9
in Nomine Domini - Tavemer
PL (Pioe.)
Tpt. in C
Pere. 1
Pmm.2
Hn. in F
Civ. (ft CI.) in 8b
B
nautando
J J J j j j
Pom. 3
Pwu. 4
Piano
• 3 6 -
In Nomine Domini - Taverner
FL (Pbc.)
Tpt.inC
Pure. 1
Pwc. 2
Hn.inF
Clar. (B. CI) in Bb
5 Pwc. 3
Pwc. 4
Piano
-37-
In Nomine Domini - Taverner
PL (Pksc.)
EM.
Tpt. in C
7M
Pem. 1
Pom. 2
Hn.'mF
Bam
Clar. (B. CI.) in 8b
B Pore. 3
Pom, 4
Piano
-38-
In Nomine Domini - Tavermr
Q p^[ CODA (on •Domini") J - so
FkM(Pfoook>)
Jr.*. « I , , , „
rforn
riunvMtiriC
Horn in F
Vbkt
String Bmm
Obo*
o»'.(B.a;inab
Vfotb
G*J»
fieel MAXOFF t ALLMtCS DRY
II /»-
; *
!
o = = = = = \—\ — = =
r i n ( n
H I t J J — • ? j p J 5 j ' ' i i + t i r c r j
j r - a jn 1 / J i n r j v * ""
mmpmkto
if 1 = r - r r i M
1 ' ' " f r '
J i r J
V W j i — - : • -
-39 -
In Nomine Domini - Tmmrmr
PL (Pksc.)
EM
Tpt. in C
Tim,
Pms. 1
Pmv,2
Hn.'mF
¥k.
B
Oh.
Cfar. (B. CL) in Bb
6m
Tuba
Pwa 3
Pwe. 4
Pmnoi
Vh.
Celte
= = — - : = - ~ - . ' 1 " w — Z Z =
1 — = ~ =a _ B
IT — 41 —
F f P
^ _ -p + _ _ | W — — — — — P
^ _ -p + _ _ |
-H —= = = = = = = = = = = = = =
m - _ = = = 1 3 = = =
= = = = = =
H i - = - l~--— —
i n Hi n, . , .
n !'L J pnn n p a If n ^ H * r i xJ •^JJW
1 1 r ~ W~r f—-- t -
' '
J
• 40*
In Nomine Domini - Taverner
Q H 1
Ft. (Pioc.)
E.H.
Tpt. m C
Tbn.
Pare. 1
Perc. 2
Hn.'mF
Vht.
Bass
Ob.
Clar. (B. CI.) in Bb
Bsn.
Tuba
Pare. 3
Pare. 4
Piano i
Vki.
Cam
- -
+ ft
P mp P
P n i ]
j < B r r - l r r * 1 1 1 1 V fl f f l m l = . H Jgl ^
, „ , n j , j > J 7 a
U l ! —
J — 1 Js r j a
* J J — * —
j .
- J p — U g j f
i .h
— — — F t J ~
J J
' L r r r
4 = — =
' p k U f f J r P r f r - -
• 4 1
in Nomine Domini - Tavemer
ritardando
FL (Pice.)
EM
Tpt. in C
Tim,
Pare. 1
Perc. 2
Hn. mF
'm.
Bass
f . - r - ~ |
+ similQ
f
rt\
n f
rt\
n
f l 8 3 | ritardando .
Clar. (B. CL) inBb
B Tukm
Pem. 3
P»rc. 4
Piano
Geib
• 4 2 -
II. Byrd
V A R I A T I O N S J . - 7 2 Fiuts (Piccolo)
English Horn
Trumpet in C
Trombone
Percussion 1
Percussion 2
Horn in F
String Bass
Clar. (B. CL) in Bb
Bassoon
p (harmon mute)
ALL MICS ON j-t»MAX'[VAR.5]
ba*« clarinet
Percussion 3
Percussion 4
Piano
-43-
In Nomine Domini - Byrd
Fl. (Pioc.)
EH.
Tpt m C
Tba
Pore. 1
P&rc. 2
Hn.mF
Yk,
Clar. (B. CL) in Bb
B Pore. 3
>*. >
>*.
mm$Z m
F d s f f
mm$Z m
F d s f f
Pore. 4
Piano
CoHo
In Nomine Domini - Byrd
D 3
Ft. (Pkx.)
EM
Tpt in C
Tbn.
Pare. 1
Pore. 2
Hn.inF
Via.
Ciar. (B. CI.) in Bb
Pore. 3
Pore. 4
Piano
I $ = A 1 h H h i b 7 il 7 i* * = > - > - » - »• >» » -
+ (opan)
f
^ ' f «/•
'f - i !•
— f paz. •
M r t • =
i f
'f - i !•
pizz-
m * — — p - m — 1 — 8 —
C*!k>
45-
In Nomine Domini - Byrd
piccolo
B
ft (Picc.}
EH.
TpL in C
Tbn,
Pore. 1
Perc. 2
Hn. mF
m.
Oh,.
Clar. (B. CL) in Bb
Ssa
Tub*
Pmm. 3
Pern, 4
Pmmi
Vh.
Cetb
• - - • - • T
— — =
P
sc sc p
' -• ..J..- " ^
— r. : ' z = z = = =
| • r T = = = r = 2 E = =
If"7""3 — = — - — —
+ ^
& (skn.)
' 4 . . . J
L J i > ) j i ' 1
D D
» >*»
Z f l
r~& 5=
p
»• >. S»"
4 H * —=
f E P = — 1 28»-
" y r j i 7 " - - - - - - - - - = F = —
mnmpedafa 1 — - 1
^ 3 = = = = =
bi::::,!:1,!;:,:::;!1; 1 — — 1 ' — ~ — —
- 46 -
In Nomine Domini - Byrd
GEL Ft (Picc.)
EM
Tpt. in C
Tbn.
Pore. 1
Pore. 2
Hn.mF
Via.
Bass
Clar. (B. CQinBb
Tuba
Pore. 3
Pore. 4
Piano
¥ * ' M =
- f r - T K 1 K— k , K > -frfr J> i ==^=
I
1 I' 1 J' i " » •
>» » - >- 3»-
^ = =»-
M - - f
Tftp
•
-
CoHo
• 4 7 -
In Nomine Domini - Byrd
Ft. (Phc.)
Tpt in C
PBW, 1
Pore. 2
Hn. in F
Clar. (B. CL) m 8b
B
(mute out)
P»m, 3
Pw& 4
Pmno
CsHo
»48*
In Nomine Domini - Byrd
FL (Pioc.)
EH,
Tpt m C
Tbn.
Pent. 1
Pore. 2
Hn.'tnF
Via.
Ob.
Clar. (B. Cf.) In Bb
Tuba
Pare. 3
Pore. 4
Piano i
Vkt.
CaHo
Vg? * — 1 '
5»- *>•
> -
> • * •
— - -SS.
s= >•— -
*»•
'S-
> -
• ^
- f - -- p=a . a; -T "1 >" ' » ' m • »
> * >•*
§ = < i J *
/ 3
m [. i i h i
H I > • > • t>r, — - 3*
»•
•
' ^ j y * —
ii>- Jf"*"
> -
ifl , 1 , fr —
> •
8vb * . 1 J — - — f e ! — ^ _ = — ^ —
- 4 9 -
In Nomine Domini - Byrd
Ft. (Picc.)
B
Tpt. in C
Pare. 1
Pern. 2
Hn. in F
Ctar. (B. CL) in Bb
gortgi is mssp, eymM (soft m&ttats)
mp tempi* Mocks
Perc. 3
Psrc. 4
Piano
CBHO
- 5 0 -
in Nomine Domini - Byrd
FL (Picc.)
TpfmC
Pore. 1
Perc. 2
Hn. in F
Bass
Ciar. (B. CL) m Bb
$
Tf
Perc. 3
Peru. 4
Piano
CsHo
• 5 1
in Nomine Domini - Byrd
FL (Picc.)
Tpt in C
A Perc. I
Pare. 2
Hn. m F
Ciar.fB. CI.) m Bb
B Pens. 3
Pern. 4
Pmno
GeHo
5 2 -
In Nomine Domini - Byrd
Ft. (Picc.)
Tpt. in C
Pore. 1
Pore. 2
Hn. mF
Ctar. (B. Cf.) in Bb
Cj'LLl
Pore. 3
Pore. 4
Piano
OoHo
5 3 -
In Nomine Domini - Byrd
Fl (Picc.)
Tpt m C
Perc. i
Perc. 2
Hn. in F
dm (B. CI.) in
B
(rmnnon mMm
Pare. 3
Pare. 4
Piano
• 5 4 -
In Nomine Domini - Byrd
Ft. (Picc.)
Tpt. In C
Pare. 1
P&rc. 2
Hn. in F
Clar. (B. CI.) in Bb
Pare. 3
Pare. 4
Piano
C*Uo
55-
In Nomine Domini - Byrd
Fl, (Pioc.)
EM
Tpt m C
Tbn.
B
Perc. 2
Hn. in F
Via.
Ob.
Oar. (B. CL) m Bb
Bm.
Tuba
Pew, 3
Pern. 4
Piano <
Vh.
CuHo
f f
(am.)
ij' 1 j'j" w
N — i i —
>» iii '" -'S:1""*"11 r — ™ 3 r * — — -j
9 * : 1 ~ = = 3 = = r - r — T - T - Z : : . - 1
i 1 . f- . L f ^ f ^ ^ ^ y wi ^ if—C—eX—V f i1 j T ^ * 1
j. = —5= ' | » -
»/
aEKffiSBj J "
mnm p&d&te
11 ^ ~ 1 ^ —f "y ~j • 5 6 -
In Nomine Domini - Byrd
S= S*
V ^ > h
> -
> -
» * >* >* a*.
» >-
• * * * " "~r ""T w 1 • f W * y ^
(open)
—
FL (Picc.)
EM
Tpt. in 0
Tbn.
Pare. 1
Pare. 2
Hn. in F
Via.
Ciar. (B. CI.) in Bb
Bsn.
Tuba
Pore. 3
Pore. 4
Piano i
CeOo
- 5 7 -
in Nomine Domini - Byrd
PL (P 'KC.)
Tpt, m C
Pern, 1
Pare. 2
Hn. mP
Clar. (B. CI.) in Bb
B Pore. 3
Pew. 4
Piano
CeHo
• 58 -
in Nomine Domini - Byrd
[ j ] [ 7 4 ] V A R I A T I O N 6 J . 126
Flute (Picccb)
English Horn
Trumpet in C
Trombone
Percussion 1
Percussion 2
Horn in F
String Bass
Clar, (B. Ci.) in Bb
Bassoon
Percussion 3
Percussion 4
[ 7 4 ] ( - * M A X : [VAR.6J
(hard mallets)
f sempre
eh in iM
j sempre
- 5 9 -
in Nomine Domini - Byrd
Fl. (Pica.)
EH,
Tpt. mC
Tbn.
Perc. 1
Pen:. 2
Hn. in F
Ba&$
dm. (8. Ci) in Bb
Ben.
B Tuba
Peru. 3
Perc. 4
Piano
1 — p =
- - f —
Alternate ad. Ob. between open and
k stopped
"52: ™ " "
f mmpm
7 £ — ^JL1—^
Alternate ad. lb. between aroo •
andpizz
fmmpm
• *}i \ — - f"-» —*——
f mmpm
p
f mmpm
mnm pmm
f aemprm Alternate ad. Mb. between aroo
and pirn
f mmpm
Celb
in Nomine Domini - Byrd
Ft (Picc.)
Tpt. in C
Pore. 1
Pare. 2
Hn, in F
Bass
Ciar. (B. CI) in
Pom, 3
Perc. 4
Piano
Ceito
• 6 1 -
In Nomine Domini - Byrd
Ft (Pice.)
TptmC
Pore. 1
Pore. 2
Hn. in F
Clar. (B. Cf.) m
B Pom. 3
Pore. 4
Piano
6 2 -
In Nomine Domini - Qyrd
FL (Picc.)
Tpt. in C
Perc. 1
Pore. 2
Hn. in F
Clar. (B. CL) in Bb
Pare. 3
P&rc. 4
Piano
- 6 3 -
in Nomine Domini - Byrd
PL (Pbc.)
TpL in C
Pare. f
Paw, 2
Hn. mF
Bass
Clar. (B. CL) in Bb
Bm
B Tuba
PBTC. 3
Para 4
Piano
Cello
- 64 -
In Nomine Domini - Byrd
FL (Pica)
Tpt in C
Perc. 1
Pare. 2
Hn.mF
Bass
Clar. (B. Ct.) in Bb
Bsn.
fsampra
Jsampra
f sempm fsampra
Tuba
Pate. 3
Pare. 4
Piano
Catto
- 6 5 -
In Nomine Domini - Qyrd
FL (Pico.)
EM
Tpt. in C
Tbn.
Pare. 1
PBTC.2
Hn. in F
Vk,
B
Ob.
Clar. (B. CI.) in Bb
Bsn.
Tuba
Pare. 3
Pare. 4
Cello
41 " v 1 |
\i - =
b M i M >, _
*1P~" > -
rr
m ~
U i > * » —
» ^ *
M 1 r 1 1
i - =
j i j *' j ; rT~^i = | T J t j„L_zEE
^ =
\£— - = § =
6 6 -
In Nomine Domini - Qyrd
Q u \
Fi. (Pice.)
EM
Tpt. in C
Tbn.
Perc, 1
Perc. 2
Hn. in F
Via.
Ob.
Clar. (B. Ct.) in Bb
Tuba
Perc. 3
Perc. 4
Piano *
Vtn.
Cello
- 6 7 -
In Nomina Domini - Byrd
DH] FL (Pice.)
EM
Tpt in C
Tbn
Pare. I
Pore. 2
Hn. in F
Via.
B
Ob.
Clar. (B. CI.) in Bb
Ban.
Tuba
Pore. 3
Perc. 4
Piano <
vm.
Cello
HM—7 f f T i i
J t=frF= $ -LijSE f —
ri - — - =
Hial U - = I
i - EEE
—~-~--0is3r+----^ —•
kJ>* " j
===ZZZ==Z±=R O=
J - T J J T T T "
3*
ly. f r f = - r« -trrTT'-'-^ ^ £s*-
«T ^ 1 1
V 2*
- 6 8 -
In Nomine Domini - Byrd
FL (Picc.)
Tpt. in C
Perc. 1
Pore. 2
Hn.mF
Bass
Clar. (B. CI.) in Bb
m
Pare. 3
Perc. 4
Piano
Cello
- 6 9 -
In Nomine Dorrvru - Byrd
B
Fi (Picc.)
E H
Tpt in C
Tfon.
Pore. 1
Pure. 2
Hn. in F
m.
Ob.
Clar. (ft CI.) in Bb
Bsn.
Tuba
Pare. 4
Piano {
Cello
± - - -$ =
_ z _ _ ^ i | 2 3 z :
VP " > >*
a * .
o n
\ l - = 1 t ! = ^ — 7 « L J 7 -
* • . . t a fb > * 1 _
- j fe - 4? - — - — —
J ^ > -
' ' ; J / " J " i H
> -
? - £
• 7 0 -
In Nomine Domini - Byrd
Ft. (Pico.)
EH.
Tpt. in C
Pern. 1
PQFC. 2
Hn. in F
Bass
Ciar. (B. CI.) in Bb
Tuba
Pare. 3
Perc. 4
Piano
Cstlo
-71 -
In Nomine Domini - Byrd
Fl. (.PfCG,)
Tpt in C
Perc. 1
Pare. 2
Hn. in F
Bass
Ciar. (B. CI.) in Bb
Bsn.
B Tuba
Perc. 3
Pore. 4
Piano
- 72 •
In Nomine Domini - Byrd
f u * 1 FL (Pica)
EM
Tpt. in C
Tbn.
Perc. 1
Pore. 2
Hn. in F
Via.
Ob.
Cfar. (B. Ci.)mBb
Bsn.
Tuba
Perc. 3
Pore. 4
Piano*
Vln.
Cello
1 - = > -
^ 1
Ttfj_ J
^ > 3
3*-
>
>
- i i > r f r
> -
; r r r-ft " * f ^
t i i—t—j
f I I I —
—| 1 ,
r • | h-
1 ^ §)iJ J i i * =
i. - =
r * " iiji t j J r tJ r J
ft ^
i. - = ft ^
7 3 -
in Nomine Domtni - Byrd
K PL (Pico,)
EM.
Tpl m C
Tbn.
Pare. I
Perc. 2
Hn. in F
Vk.
K
B
Ob.
Clar. (B. CI) in Bb
Bsn.
ma
Pom, 3
Perc. 4
Vb.
Cello
mm
m
, 74-
In Nomine Domini - Byrd
Ft. (Pico.)
B.H.
Tpt. in C
Tbn.
Pare. 1
Pare. 2
Hn.inF
Via.
Bass
Ob.
Clar. (B. CL) in Bb
Bsn.
Tuba
Ports. 3
Perc. 4
Piano <
Vkt.
Cello
1 " =
H5
4 " E
fi54l
^ *
fl |
iu 1
>*
*
> | 1
a*- 3S- ^ >•
> *
- 7 5 -
in Nomine Domini - Byrd
FL (Picc.)
Tpt. in C
Perc. 1
Pore. 2
Hn. in F
Clar. (B. CI.) in Bb
B Perc. 3
Perc. 4
Piano
76-
In Nomine Domini - Byrd
RmI attacca
Fi. (Picc.)
EH,
Tpt in C
Tbn.
Pore. 1
Pare. 2
Hn. in F
Via.
Bass
Ob.
Clar. (B. CI.) in Bb
Bsn.
Tuba
Pore, 3
Perc. 4
Piano i
VJn.
Cello
I
I "t?
A JS!
-i = 4 = =
fie*l I - |
J J§1
J§!
:»*
0 0 <• ^ f*
I - ;
1 ^ J J E
2 - f
> „ i z .i-l— t h 1 , J f ^ fc? * k r »• Itf* i T f
=
U — - — -
attacca
- 7 7 -
In Nomine Domnt - Byrd
[ L | Hto] VARIATION 7 J.-72
FhAe (Piccolo)
English Horn
Trumpet in C
Trombone
Percussion I
Percussion 2
Horn mF
String Bass
Clar. (B. CI) in Bb
B Percussion 3
Percussion 4
piccolo
mmpm
mp mmpm (harmon)
mp mmpm (cup mute)
mp mmpm
f$wp mmpm 1701 p MAX: [VAm.TJ
mp sempm
mpmmpm vlb®s (motor on - fast)
mp mmpm pedale mmpm marimba
(soft mallets)
mp sempm
arm
mp sempm
mp mmpre
-78-
in Nomine Domini - Byrd
Ft (Pico.)
TpLinC
PBTG. 1
Pare. 2
Hn.inF
Bass
Clar. (B. CI.) in Bb
Psro. 3
Perc. 4
Piano A
Cello
- 7 9 -
In Nomine Domini - Byrd
B
Pi (Pirn.)
EM.
Tpt in C
Tbn.
PBTC. 1
Pare. 2
Hn. m F
m.
Bass
Ob,,
Clar. (B. CI.) in Bb
Ssft
Tuba
Pare. 3
Pare. 4
Piano*
Vh.
Collo
+ (opm)
f Escxa
wf — — — ^ — f MP — . Wf
Da
— _
«/ >. >- a y~
SvbJtL ^ p
/ : I »*
£ E
/ : I »*
£ E
- 8 0 -
In Nomine Domini - Byrd
r«B4i
Ft. (Picc.)
EM
Tpt. HI C
Tbn.
Perc. 1
Pare. 2
Hn. in F
Via,
» - =
+
J I = (sim.)
V V I >•
y - ^
ff ^ L _ J l j
fcj' - ^ 7 j 1
Ob.
Clar. (B. CI.) in Bb
Bsn.
Tuba
Perc. 3
Pore. 4
Piano <
Vln.
Cello
ssnza pod ale
I E
- 8 1 -
In Nomine Domini - Byrd
141 •4
ft " J
1 - = = F
p = :::::
4 (open)
Ft. picc.)
EM
Tpt. m C
Tbn
PBTC. I
Pore. 2
Hn. in F
Via.
B
Ob.
Clar. (B. CL) in Bb
Bsn,
ma
Pare. 3
Perc. 4
Piano >
Ceib
- 82 -
In Nomine Domini - Byrd
Fl (Pkx.)
TptinC
Perc. 1
Pore. 2
Hn. in F
Bass
Clar. (B. CI.) in Bb
Bsn.
Tuba
Perc. 3
Perc. 4
Piano
Cello
- 8 3 -
In Nomine Domini - Byrd
M FL (Picc.)
EM
Tpt. "m C
Tbn,
Pore. 1
Pore. 2
Hn. in F
m.
B
Ob.
Clar. (B. CL) in fife
Ssm
Tuba
Pare. 3
Pare. 4
Piano <
Cfl/fo
J _ n . i r y _ v C r e
f
e
f
- 34 -
In Nomine Domini - Byrd
Fl. (Picc.)
EH.
Tpt in C
Tbn.
Pore. 1
Pore. 2
Hn.'mF
Via.
Ob.
Clar. (B. CI.) in Bb
Bsn.
Tuba
Pare. 3
Pare. 4
Piano
Vln.
tnf
- 8 5 -
In Nomine Domini - Byrd
FL (Picc.)
EM
Tpt in C
Tbn.
Perc. 1
Pore. 2
Hn. in F
m.
B
Ob.
Clan (B. CL) in Bb
Bsn.
Tubs
Pore. 3
Perc. 4
Piano <
Vln.
Cello
' ft - — r i r * f r . s
p
JT
HHf-p p =
- — '" - pp
- 8 6 -
In Nomine Domini - Byrd
FL (Pbc.)
Tpt'mC
Perc. 1
Pore. 2
Hn.inF
Cfar. (9. CI.) in 8b
Perc. 3
Pore. 4
Piano
Cello
- 8 7 -
In Nomine Domim - Byrd
PL (Pice.)
Tpt m C
Perc. 1
Perc. 2
Hn. in F
Bam
Clar. (B. CI.) in Bb
Ban.
B
tempi* blocks
Tuba
Pare. 3
Pore. 4
Cello
- 8 8 -
In Nomine Domini - Byrd
FL (Pice.)
EH.
Tpt.inC
Tbn.
Pare. 1
Perc. 2
Hn. in F
Via.
Ob.
Clan (B. CI.) in Bb
Bsn.
Tuba
Pare. 3
Piano <
Vln.
Colb
a wtf
- 8 9 -
in Nomine Domini - Byrd
Fl (Pica.)
EM
Tpt. inC
Thrt
Perc. 1
Pare, 2
Hn. in F
Ciar. (B. CI.) in Bb
Ben.
B ma
Perc. 3
Perc. 4
W r » .
Cello
#i
(open)
• 9 0 -
In Nomine Domini - 8yrd
Fl (Picc.)
EH.
Tpt. in C
Tbn.
Perc. 1
Paw. 2
Hn. in F
I - =
fl
I - =
snare drum
A / 1 r Hr1
+ + j i EE
(skn.)
r "r i Zmf
| Iff -
•=• y -ff W 3 ^ fe!"' 4' ^
• ft t —
i J 1 * j
VJa.
Ob.
Clar. (B. Ci) in Bb
Tuba
Perc. 3
Perc. 4
Piano <
Vln.
Ceib
senza pedak)
-91 -
in Nomine Domini - Byrd
PL (Pico.)
EM
Tpt. m C
Thn.
Pore. 1
Pare. 2
Hn. m F
B
Ob.
dm. (B. CI) in 8b
Bsn.
Tuba
Perc. 3
Pare. 4
Piano i
Vln.
Celh
«/
«lf
<mf
^ ij1 * i (open)
[233]
-j4f - — if tf 1—
9vb-fL'
vt "ZJJB
e-
- 92 •
In Nomine Domini - Byrd
Ft. (Picc.)
EH.
Tpt.mC
Tbn.
Pare. 1
Pern. 2
Hn.kiF
Vki.
Bass
Ob.
Clar. (B. CL) inBb
Bsn.
Tuba
Pare. 3
Pare. 4
Piano {
V)h.
Celb
& f |*Tf i/ r ' i y A y l i H r * ; l r y . 'Tr y i f f i I t / T T r « v itfitr v * ip"V= t r r 1 1 1 h T l t 7 u ± = = = = = L H - j L y = = i f c - L C J E = u - y j W -
12381 12381
1 PP
*11 • —
\I - = 4 ^ — -I, , », =
1 ?
/ 1 ?
« ' f . J * - T
PP
j i > i - ^ =
I - = ;
fcp B - 1 —
$ = S E E E :
- e — : •
- 9 3 -
N Tye
VARIATION 8 (canon) J » 60
Flute (Piccolo)
English Horn
Trumpet in C
Trombone
Percussion 1
Percussion 2
Horn m F
Viola
String Bass
N
B
Oboe
Clar. (B.Ci) in Bb
Bassoon
Tuba
Percussion 3
Percussion 4
Piano i
Cmib
W • ~ ~
I D ,
1 r, - -—-===
mp
f - > MAX: [VAR.8]
mp
senza pedale
- 94-
In Nomine Domini • Tye
FL (Picc.)
Tpt. in C
Pore, 1
Psrc. 2
Hn.kiF
Clar. (B.Ci.) in Bb
U Wilt f
Pare. 3
Pore. 4
Piano
Cello
- 9 5 -
In Nomine Domini - Tye
0 PL (Pics.)
EH.
Tpt,'mC
Tba
Pare. 1
Pare. 2
Hn. "mF
V f e .
Bam
B
Ob.
Giar, (B.CI.) m 8b
Bstt-
Tuba
Pare. 3
Perc. 4
Piano i
Vh.
Cello
• i L -
0
J? 5 * — ,
H 1 * j ^
«**•
n
- J " - * - - -
mf clarinet
! | )r*r r j f l* r r - ^ p ^
•mf
JJ}
mmtimbm
it r f ' r r r r j
Mf
96-
In Nomine Domini - Tye
GH
FL (Pico.)
EH.
Tpt.mC
Tbn.
Pore. 1
Perc. 2
Hn.'mF
Via.
Bass
Ob.
Ciar. (B.CL) in Bb
Bsn.
Tuba
Perc. 3
Pore. 4
Piano <
VIn.
(cup mute)
mf
- [ » ' M
J J J _
o n
LPttj p — 1 * ^ —
- J #J J J
A
J c y J
J J J ~ 3 / J
if r—i —r < § t n r r Y M Y ' "P u
ti'
i - = ig i
9 * P it. P- : „ n » . > , i If -p5]—p—.—j j c i ' r f ^
j i, i EE
iiJ J | l r i 'iJ r =
j j j - ^
r j f "r J J i
•fy f J it'J
mf
"f f 1 p - fc jp=
mf
- 9 7 -
In Nomine Domini - Tye
PL (Pico.)
B
Tpt ifi C
Pare. 1
Perc. 2
Hn. in F
Clar. (B.Ct.) in Bb
crotates
Pore. 3
Perc. 4
Piano
- 9 8 -
In Nomine Domini - Tye
FL (Picc.)
Tpt. in C
tempi* blocks
Pore. 1
Pe/v. 2
Hn. in F
Ob.
Clar. (B.CL) in Bb
Bsn.
Tuba
Perc. 3
Perc. 4
Piano <
Vln.
Cello
n bass clarinet
n
.=>* fnf
• •/»«•••* R — I
f r f £ j
r
R R R Lr R
$ | | J 7 l l P U :
- i
i i r J i . U « J = #J J j r ^ i J i J J I - N J " i
$ r
s - 1 | r r a r r f — f — p f | | n
,/ L
j-
U — | -j 1 — E 3 - J n I ' - q r I I - i i ; J j. .rijf E J ^ J - V J A====
- 9 9 -
•J l _ j j = = =
J t L
J | | J ||J - =
In Nomine Domini - Tye
PL (Pico.)
EM
Tpt in C
Tbn.
Rem. 1
Pare. 2
Hn. in F
Bass
Clar. (B.CL) in Bb
B Perc. 3
Pare. 4
Piano
tfz f f f Is i" "Lf true r
flautando
P
flautando
Ceib
- 1 0 0 •
in Nomine Domini - Tye
Fl (Pico.)
Tpt. in C
Pom. 1
Pore. 2
Hn. in F
Clar. (B.CL) in Bb
Psrc. 3
Pore. 4
Piano
Cetb
101 -
In Nomine Domini - Tye
B
FL (Picc.)
EM
Tpt. in C
Thn.
Pare. 1
Pure. 2
Hn. in F
m.
Ob.
Clar. (8. CI.) in Bb
Ban.
Tuba
Pare. 3
Pare. 4
Piano*
Vin.
Cello
\i I
j
¥ ^ (harmon mute)
jp ,. -Q r f7~TH
- t -p =
»T j 1-i. ^
z z p z = = z z p ^ = z z z = = i )j. ^
W# V—-TU_
j , . i f l J J i,J
V 1 4 1-i, r * 1 — 1 f r i —
^ f*"f "f r - r l r r r h — i ,-i r i i 9' J * jJ |»" J' j= __ ,
r>. r*1—1 h~1—
u w r 'iJ
r f n '•' | | j A
r."d~, _ — — p - ' r i _ ., ri 1 ~„ 1 r*H >J JjjJ l»- J'J tfz
a tfkJ f itj n
4— ^ Pt : : ^ = r %t =
H9
j j j j j ^
j ^
$ J J ffJ- J~j tfz
J j|J J ^ ^SE =g j =
tfz LJ jJ J ^EE
• 102 -J
In Nomine Domini - Tye
Fl (Picc.)
EH.
Tpt in C
Tbn.
Pore. 1
Pore. 2
Hn. in F
Via.
Bass
Ob.
Clar. (B.CI.) in Bb
Bsn.
Tuba
Pore. 3
Pore. 4
Piano <
Vfn.
Celb
J ' 1 L = L _
4 = = = = =
* . nJ .=r= i r i ii n p . n H S = = = = F = | [.! , fr- 1
—i r - i 1, r —
f ~ J ~ =
- A 1—
^ j "
[r l | j
? - = j
J J JIN -1 [ r *==2z j»- = j =
V =
/>
cwrfa,}
= - n = - n
-103-
in Nomine Domini - Tye
PL (Picc.)
Tpt. in C
B
Pore. 1
Pore. 2
Hn. mP
dm (B.CI.) in Bb
(simile)
flautando
fmutmm
Pure. 3
Pare. 4
Piano
> 104-
In Nomine Domini - Tye
Ft. (Picc.)
Tpt in C
Pore. 1
Pore. 2
Hn.inF
Ctar. (B.Cf.) in Bb
Pore. 3
Pore. 4
Piano
Celb
105-
In Nomine Domini - Tye
B
Fl. (Pica)
E.H.
Tpt. in C
Tbn.
Perc. 1
Pom, 2
Hn. in F
Via.
Ob.
Ciar. (B.CI.) m Bb
Bsn.
Tuba
Perc. 3
Perc. 4
Piano*
Vln.
Coib
• w.
1 3 r - i t — 1 > —
p i 5 p
j n j : = ^ = j
n
H S J J J ^ J [ L .
A |
c m
J j > 3 |
- - 2 = J i >J '
- 4 - 3 u j ' * j j r ^
$fz
&
P
(ma corda)
1 0 6 -
In Nomine Domini - Tye
Fl. (Pico.)
EH;
Tpt in C
Tbrt.
Pore. 1
Pore. 2
Hn.inF
Vto.
Bass
Ob.
Glar, (B.CL) in Bb
Bsn.
Tuba
Pore. 3
Perc. 4
Piano <
Vln.
Cello
9 - — 4 =
r rl » j =
—j?—j,. — — j- i
^ J =
— J — — i
[Ml -# = 1
j ^ ^ '
I - =
^ =
1 - = =
f - =
t j A
1 - SEE
J J ^
- 107-
in Nomine Domini - Tye
Ff. (Pico.)
Tpt in C
Pore. 1
Pore. 2
Hn. in P
Clar. (B.CI.) in Bb
B P&rc. 3
Pore. 4
Piano
(FADE OUT ALL MICJ
i
1 0 8 •
Tho Colony, Texas May 24, 1995