As usual for its time, the composition is formatted as a Neapolitan mass, consisting of a succession of choral movements with a broad orchestral accompaniment, and sections in which a more limited group of instrumentalists accompanies one or more vocal soloists. Among the more unusual characteristics of the composition is its scale: a total performance time of around two hours,[2] and a scoring consisting of two groups of SATB singers and an orchestra featuring an extended winds section, strings and continuo. Its key, B minor, is rather exceptional for a composition featuring natural trumpets in D.[3]
The Mass is a compendium of many different styles in vocal composition, in both the "stile antico" reminiscent of Renaissance music (even containing Gregorian chant) and the Baroque concertante style of his own time: fugal writing and dances, arias and a movement for two four-part choirs. Similar to architecture of the period, Bach achieved a symmetry of parts, with the profession of faith (Credo) in the center and the Crucifixus in its center. Bach scored the work for five vocal parts (two sopranos, alto, tenor and bass, SSATB). While some choral movements are for only four parts, the Sanctus is scored for six voices (SSAATB), and the Osanna even for two four-part choirs. Bach called for a rich instrumentation of brass, woodwinds and strings, assigning varied obbligato parts to different instruments.
Mass in B flat: Vocal score books pdf file
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Most other movements of the mass are parodies of music from earlier cantatas,[7] dating back as far as 1714. Wenk points out that Bach often used parody to "bring a composition to a higher level of perfection".[8] The original musical sources of several movements are known, for others they are lost but the score shows that they are copied and reworked. Bach selected movements that carried a similar expression and affekt. For example, Gratias agimus tibi (We give you thanks) is based on Wir danken dir, Gott, wir danken dir[9] (We thank you, God, we thank you) and the Crucifixus (Crucified) is based on the general lamenting about the situation of the faithful Christian, Weinen, Klagen, Sorgen, Zagen[9] (Weeping, lamenting, worrying, fearing) which Bach had composed already in 1714 as one of his first cantatas for the court of Weimar.
The work is scored for five vocal soloists, chorus and orchestra. Its movements are listed in a table with the scoring of voices and instruments, key, tempo marking, time signature and source. The movement numbering follows the Bärenreiter edition of the Neue Bach-Ausgabe, first in a consecutive numbering (NBA II), then in a numbering for the four individual parts (NBA I).
The virgin birth, "Et incarnatus est" (And was incarnate), is a five-part movement. It is probably Bach's last vocal composition, dating from the end of 1749 or the first weeks of 1750.[57] Until then, the text had been included in the preceding duet. The late separate setting of the words which had been given special attention by previous composers of the mass, established the symmetry of the Credo. The humiliation of God, born as man, is illustrated by the violins in a pattern of one measure that descends and then combines the symbol of the cross and sighing motifs, alluding to the crucifixion.The voices sing a motif of descending triads. They enter in imitation starting in measure 4, one voice every measure in the sequence alto, soprano II, soprano I, tenor, bass, forming a rich texture. The text "ex Maria vergine" (out of the virgin Mary) appears in an upward movement, "et homo factus est" (and made man) is even in upward triads.[58]
Solo Instrument Score (Digital) A score PDF file is delivered via email upon receipt. Any electronic files associated with the work are included with every purchase. An email containing a link to download the electronic files is sent to the customer's email address.
Full Score/Performance Score (Digital) The full score serves as a performance score for all players. A score PDF file is delivered via email upon receipt. Any electronic files associated with the work are included with every purchase. An email containing a link to download the electronic files is sent to the customer's email address.
Score and Parts (Print) A print edition of the score and part(s) ship to the customer's address upon receipt. Any electronic files associated with the work are included with every purchase. The email containing a link to download the electronic files is sent to the customer.
Solo Instrument Score (Print) A print edition of the score is shipped to the customer's address upon receipt. Any electronic files associated with the work are included with every purchase. An email containing a link to download the electronic files is sent to the customer's email address.
Full Score/Performance Score (Print) The full score serves as a performance score for all players. Print edition(s) of the full score/performance score are shipped to the customer's address upon receipt. Multiple copies are included if the work has more than one player. Any electronic files associated with the work are included with every purchase.
Choral Score (Digital) A PDF file of the choral score is delivered via email upon receipt. The set is priced to allow multiple copies of the PDF to be printed for performance by the purchasing organization only.
Perhaps the biggest differentiator between Newzik and forScore is the ability to read MusicXML files in addition to PDFs. There are some fantastic things that are possible with MusicXML that are not with PDF. For example, the metronome can follow a score with meter and tempo changes. The music can be resized and reflowed in an instant, which is implemented very cleverly in Newzik. You can pinch-zoom the screen to set the staff size, and then a split-second later, everything reflows so that no matter how big or small you make things, the system is always the full width of the screen, which is particularly nice if you are using Newzik on a smaller screen, or if you prefer to use your iPad in landscape orientation, rather than the portrait orientation used by most scores.
I could also imagine this being very useful for sectional rehearsals in school, where the conductor may want to focus on only the strings, for example. Because MusicXML allows Newzik to be aware of where system breaks occur rather than only page breaks, there is an option to set a Bluetooth page turning pedal to scroll one system down, rather than a whole page at a time, which could allow a performer to always be able to preview what is coming in the next measure, regardless of where it might fall on the printed page. The flexibility of MusicXML also allows a score to be transposed on the fly, which may not be as useful for orchestral scores, but could be a huge benefit for vocal music.
While several of the apps I tested can bring in audio files to play back with scores, Newzik also has the option of playing a YouTube video on part of the screen. This may seem less useful than some other options, but it could be quite interesting for educational settings, where instructional content could be paired with a corresponding musical score. This limited screen space would be an excellent example of a time that the adaptive layout of a MusicXML score pays off. 2ff7e9595c
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