Palestrina, Missa Papæ Marcelli, Kyrie I, bars 21-24. Altus recomposed as two discrete voices: ‘A I’ and ‘T II’ in a modern transcription. The ‘new’ lower voice offered in three variants, A, B and C. Original Cantus, Tenor I, Tenor II, Bassus I and Bassus II included to complete full score. Upper voice of the two ‘new’ voices notated in normal notes because it takes only original Altus line. Lower voice of the two ‘new’ voices notated in small notes where it has entered with original Tenor I, ‘roamed’ to original Tenor II, moved back to original Tenor I and ‘roamed’ again to Tenor II at the cadence (version A); notated in normal notes where it has entered with original Tenor I, ‘roamed’ to original Tenor II, moved back to original Tenor I and finally joined the original Altus at the cadence (versions B and C).Read More →