Palestrina, Missa Papæ Marcelli, Kyrie I, bars 14-19. Altus recomposed as two discrete voices: ‘A I’ and ‘T II’ in a modern transcription. Music transposed down a tone from ‘visual pitch’. Original Tenor I notated as small notes for reference. Upper voice of the two ‘new’ voices notated in small notes where it has ‘roamed’ to original Tenor I and is in unison with this part, in normal notes where it takes original Altus line. Lower voice of the two ‘new’ voices notated in small notes where it has entered with original Tenor I and is in unison with this part, in normal notes where it has ‘roamed’ to the original Altus line.Read More →