Discussion:Ave verum corpus (William Byrd)

Bibliographie brute

• Byrd on record: an anniversary survey
• ‘NOTES AS A GARLAND’: THE CHRONOLOGY AND NARRATIVE OF BYRD'S GRADUALIA
• Thomas East and Music Publishing in Renaissance England. By Jeremy L. Smith. pp. 233. (Oxford University Press, New York and Oxford, 2003, £45. ISBN 0-19-5139054.)
• LITURGICAL ASPECTS OF BYRD'S GRADUALIA
• Byrd Edition Gradualia
• RECORDINGS
• AN AFFAIR OF HONOUR: ‘TUDOR CHURCH MUSIC’, THE OUSTING OF RICHARD TERRY, AND A TRUST VINDICATED
• William Byrd’s Modal Practice. By John Harley. pp. xii + 162. (Ashgate, Aldershot and Burlington, Vt., 2005. £45. ISBN 0-7546-3441-8.)

extrait de l'article de John Harley via HUGH BENHAM

Harley’s remarks (pp. 84–5) about commixture in Ave verum corpus, a work ‘in G-Aeolian’— or G(♭♭) — concern the phrases ‘cuius latus per-foratum’ and ‘unde fluxit sanguine’. It would have been worth observing that the (descending)‘diatessaron of F-Ionian’ in the medius at ‘perfo-ratum’ is immediately followed, even contra-dicted, by the pattern F–E –D–C in the samevoice with longer notes as the tonality changesagain, this time into ‘B -Ionian’. It is true thatthe bassus at ‘perforatum’ ends with the (ascend-ing) ‘F diatessaron, exceeding it by one note’, butthis ‘one note’ is in fact a relatively long B , preced-ing the C–D–E –F ascent. Heard in isolation, BC–D–E –F seems more like a Lydian diapente onB than an extension of an F diatessaron. But incontext the B –F outline, despite its E , seems also toprepare us for the tonality of the ensuing phrasewhere the bassus is entirely taken up with outlin-ing the interval B –F.