Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1173633 Composed by Pasquale Cafaro. Arranged by Nicole Elyse DiPaolo. Classical,Early Music,Opera. Score. 7 pages. Nicole Elyse DiPaolo #773780. Published by Nicole Elyse DiPaolo (A0.1173633). Accessible Accompaniments is proud to present the first-ever modern-clef performing edition of Pasquale Cafaro’s once enormously popular aria, “Belle luci, che accendete,� from La disfatta di Dario (1756). As noted in Giorgio Sanguinetti’s The Art of Partimento and other sources, this aria was considered the ideal Galant-era (early Classical) example of aria writing in its day, and its theme was even painted onto pottery to be sold to tourists in Naples.While the aria was written for a castrato role, Alessandro, it is ideal for today’s young lyric coloratura sopranos who want to prepare for Mozart roles but wish to wait until they’ve found their mature vocal technique before tackling those roles. Additionally, because this La disfatta di Dario setting is a rarity and singers are unlikely to be hired for this role, it could be sung in transposition by young mezzos and other fachs without causing logistical issues like the need to produce orchestral parts in new keys.Other aspects of this aria that make it a welcome addition to the voice teacher’s library are its widespread orchestral doubling of the vocal line (something that will help students who are still working on intonation and support), its relatively short, Italian-language text for easy memorization and diction acquisition, and its straightforward textual content—it’s a love song. In audition situations, this aria will be enjoyable for panels to hear, and because they will be very unlikely to know the aria, they won’t be able to critique it as closely as they would critique an aria they know well. It should also be sight-readable by an audition pianist of middling skill, another important consideration in choosing audition repertoire.This new edition was engraved using Bernardo Mengozzi’s piano-vocal reduction from 1804, which preserves the soprano clef voice part and is not widely usable today, and I made some corrections to missing accidentals and articulations by cross-checking with the manuscript full score. Both are available at imslp.org. I also write out the appoggiatura executions and one potentially confusing polyrhythm on ossia staves to assist young singers/collaborative pianists who haven’t done much of this repertoire.Range: Eb4-Bb5 without ornamentationTessitura: around Bb4-F5/G5   Text:Belle luci, che accendeteIn quest' alma un dolce foco,Siete voi, e voi sareteLa mia calma, e il mio piacer.Sì, la calma, e il piacer mioTutto, e sempre in voi s'aggira,Per voi solo il cor respira,Nè più brama il mio pensier.About the Arranger behind Accessible Accompaniments Editions:Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .

Piano Solo - Level 1 - Digital Download SKU: A0.1109761 Composed by Alexandr Grechaninov. Arranged by Piacere Music Sheets. Children,Instructional,Romantic Period,Standards. Score. 3 pages. Piacere Music Sheets #712124. Published by Piacere Music Sheets (A0.1109761). Opus/Catalog Number: Op. 98, No. 6 Key/Tone: F Major Movements/Sections: Allegro Year/Date of Composition: 1923 Difficulty: Grade 3/12 (Easy) Obs.: This lovely piece is the sixth selection in Grechaninov's Children's Album, Op. 98. Also known as Dans la Clairière

Alto Voice,Vocal Solo - Level 5 - Digital Download SKU: A0.799618 Composed by Jacques Offenbach. Arranged by Nicole Elyse DiPaolo. Opera,Romantic Period. 6 pages. Nicole Elyse DiPaolo #5306351. Published by Nicole Elyse DiPaolo (A0.799618). The first of its kind, this is a customized La Duchesse-only audition cut of Vous aimez le danger...Ah! que j'aime les militaires from Jacques Offenbach's La Grande-Duchesse de Gérolstein (1867). In the past, singers wishing to audition for this role would have to make a series of awkward cuts to eliminate the gaps created by the choral parts when performing this excerpt. The current edition omits those passages and, as a result, noticeably reduces the page count. In addition, this new engraving is remarkably clearer than the existing vocal score, which has deteriorated from age and is cluttered with instrumental cues that may not be relevant to a sight-reading audition pianist.The piano reduction itself has not been simplified or drastically altered (at the commissioner's request), although the engraving features minor changes from the original edition (for example, eliminating cross-staff chord notation and inserting a few logical enharmonic respellings).About the Arranger: Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .

String Quartet String Quartet - Level 3 - Digital Download SKU: A0.894851 Composed by Félix Astol Artés. Arranged by Samuel Valentín. 20th Century,Contemporary,Latin,Patriotic,Traditional. Score and parts. 11 pages. Pianiolist Music #4625491. Published by Pianiolist Music (A0.894851). La Borinqueña (string quartet / cuarteto de cuerdas) The national anthem of Puerto Rico, originally a danza without lyrics, Borinqueña refers to what the island was named by the Taino indians, who originally inhabited the island.El himno nacional de Puerto Rico, originalmente una danza sin letra, Borinqueña se refiere al nombre que la isla recibió de los indios taínos, quienes originalmente habitaban la isla.

Guitar Ensemble - Level 3 - Digital Download SKU: A0.1486342 Composed by Landini. Arranged by James M. Guthrie. Chamber,Early Music,Historic,Medieval,Renaissance. Score and Parts. 14 pages. Jmsgu3 #1063404. Published by jmsgu3 (A0.1486342). Francesco Landini's Ecco la Primavera is a significant work from the early Renaissance that exemplifies several essential aspects of 14th-century Italian music. The piece is a ballata, a popular form of Italian secular music during the Trecento period (14th century), also known as the Italian Ars Nova. This era marked the beginning of a new musical epoch. Ecco la Primavera is composed as an isorhythmic duet. Isorhythm was a crucial compositional technique in medieval and early Renaissance music, demonstrating Landini's mastery of complex musical structures. The work celebrates spring and love, reflecting the humanist ideals emerging during the early Renaissance. This focus on secular themes and natural beauty was a departure from the predominantly religious music of the medieval period. The piece provides insight into the cultural and social life of 14th-century Florence. It was likely performed at gatherings of intellectuals and artists, such as the one described at Villa del Paradiso near Florence in 1389. As the foremost composer of the Trecento period, Landini's works, including Ecco la Primavera, are crucial for understanding the musical developments of this era. The composition features flowing melodies that were characteristic of early Renaissance Italian music. This melodic style would influence the development of Renaissance music more broadly. The work has endured over centuries and continues to be performed and appreciated today, as evidenced by its inclusion in contemporary classical music rankings. Ecco la Primavera thus serves as an important example of the musical, cultural, and intellectual shifts occurring in Italy during the transition from the medieval period to the Renaissance.

Bass Trombone,Cornet,Horn - Level 3 - Digital Download SKU: A0.1486246 Composed by Landini. Arranged by James M. Guthrie. Chamber,Early Music,Historic,Renaissance,Standards. 15 pages. Jmsgu3 #1063306. Published by jmsgu3 (A0.1486246). Francesco Landini's Ecco la Primavera is a significant work from the early Renaissance that exemplifies several essential aspects of 14th-century Italian music. The piece is a ballata, a popular form of Italian secular music during the Trecento period (14th century), also known as the Italian Ars Nova. This era marked the beginning of a new musical epoch. Ecco la Primavera is composed as an isorhythmic duet. Isorhythm was a crucial compositional technique in medieval and early Renaissance music, demonstrating Landini's mastery of complex musical structures.The work celebrates spring and love, reflecting the humanist ideals emerging during the early Renaissance. This focus on secular themes and natural beauty was a departure from the predominantly religious music of the medieval period. The piece provides insight into the cultural and social life of 14th-century Florence. It was likely performed at gatherings of intellectuals and artists, such as the one described at Villa del Paradiso near Florence in 1389.As the foremost composer of the Trecento period, Landini's works, including Ecco la Primavera, are crucial for understanding the musical developments of this era. The composition features flowing melodies that were characteristic of early Renaissance Italian music. This melodic style would influence the development of Renaissance music more broadly. The work has endured over centuries and continues to be performed and appreciated today, as evidenced by its inclusion in contemporary classical music rankings.Ecco la Primavera thus serves as an important example of the musical, cultural, and intellectual shifts occurring in Italy during the transition from the medieval period to the Renaissance.

Woodwind Ensemble Bassoon,Oboe - Level 3 - Digital Download SKU: A0.1486330 Composed by Landini. Arranged by James M. Guthrie. Chamber,Early Music,Historic,Medieval,Renaissance. 15 pages. Jmsgu3 #1063393. Published by jmsgu3 (A0.1486330). Francesco Landini's Ecco la Primavera is a significant work from the early Renaissance that exemplifies several essential aspects of 14th-century Italian music. The piece is a ballata, a popular form of Italian secular music during the Trecento period (14th century), also known as the Italian Ars Nova. This era marked the beginning of a new musical epoch. Ecco la Primavera is composed as an isorhythmic duet. Isorhythm was a crucial compositional technique in medieval and early Renaissance music, demonstrating Landini's mastery of complex musical structures. The work celebrates spring and love, reflecting the humanist ideals emerging during the early Renaissance. This focus on secular themes and natural beauty was a departure from the predominantly religious music of the medieval period. The piece provides insight into the cultural and social life of 14th-century Florence. It was likely performed at gatherings of intellectuals and artists, such as the one described at Villa del Paradiso near Florence in 1389. As the foremost composer of the Trecento period, Landini's works, including Ecco la Primavera, are crucial for understanding the musical developments of this era. The composition features flowing melodies that were characteristic of early Renaissance Italian music. This melodic style would influence the development of Renaissance music more broadly. The work has endured over centuries and continues to be performed and appreciated today, as evidenced by its inclusion in contemporary classical music rankings. Ecco la Primavera thus serves as an important example of the musical, cultural, and intellectual shifts occurring in Italy during the transition from the medieval period to the Renaissance.

Woodwind Ensemble Bass Clarinet - Level 3 - Digital Download SKU: A0.1486287 Composed by Landini. Arranged by James M. Guthrie. Chamber,Early Music,Historic,Medieval,Renaissance. 15 pages. Jmsgu3 #1063348. Published by jmsgu3 (A0.1486287). Francesco Landini's Ecco la Primavera is a significant work from the early Renaissance that exemplifies several essential aspects of 14th-century Italian music. The piece is a ballata, a popular form of Italian secular music during the Trecento period (14th century), also known as the Italian Ars Nova. This era marked the beginning of a new musical epoch. Ecco la Primavera is composed as an isorhythmic duet. Isorhythm was a crucial compositional technique in medieval and early Renaissance music, demonstrating Landini's mastery of complex musical structures. The work celebrates spring and love, reflecting the humanist ideals emerging during the early Renaissance. This focus on secular themes and natural beauty was a departure from the predominantly religious music of the medieval period. The piece provides insight into the cultural and social life of 14th-century Florence. It was likely performed at gatherings of intellectuals and artists, such as the one described at Villa del Paradiso near Florence in 1389. As the foremost composer of the Trecento period, Landini's works, including Ecco la Primavera, are crucial for understanding the musical developments of this era. The composition features flowing melodies that were characteristic of early Renaissance Italian music. This melodic style would influence the development of Renaissance music more broadly. The work has endured over centuries and continues to be performed and appreciated today, as evidenced by its inclusion in contemporary classical music rankings. Ecco la Primavera thus serves as an important example of the musical, cultural, and intellectual shifts occurring in Italy during the transition from the medieval period to the Renaissance.

Woodwind Ensemble Alto Saxophone,Baritone Saxophone - Level 3 - Digital Download SKU: A0.1486279 Composed by Landini. Arranged by James M. Guthrie. Chamber,Early Music,Historic,Renaissance,Standards. 15 pages. Jmsgu3 #1063339. Published by jmsgu3 (A0.1486279). Francesco Landini's Ecco la Primavera is a significant work from the early Renaissance that exemplifies several essential aspects of 14th-century Italian music. The piece is a ballata, a popular form of Italian secular music during the Trecento period (14th century), also known as the Italian Ars Nova. This era marked the beginning of a new musical epoch. Ecco la Primavera is composed as an isorhythmic duet. Isorhythm was a crucial compositional technique in medieval and early Renaissance music, demonstrating Landini's mastery of complex musical structures. The work celebrates spring and love, reflecting the humanist ideals emerging during the early Renaissance. This focus on secular themes and natural beauty was a departure from the predominantly religious music of the medieval period. The piece provides insight into the cultural and social life of 14th-century Florence. It was likely performed at gatherings of intellectuals and artists, such as the one described at Villa del Paradiso near Florence in 1389. As the foremost composer of the Trecento period, Landini's works, including Ecco la Primavera, are crucial for understanding the musical developments of this era. The composition features flowing melodies that were characteristic of early Renaissance Italian music. This melodic style would influence the development of Renaissance music more broadly. The work has endured over centuries and continues to be performed and appreciated today, as evidenced by its inclusion in contemporary classical music rankings. Ecco la Primavera thus serves as an essential example of Italy's musical, cultural, and intellectual shifts during the transition from the medieval period to the Renaissance.

Piano Solo - Level 2 - Digital Download SKU: A0.1216991 By Bill Evans. By Bob Hilliard and Sammy Fain. Arranged by Joe Forget (JFpiano). Broadway,Jazz,Musical/Show,Pop. Score. 3 pages. PianoMotifs (JFpiano) #813518. Published by PianoMotifs (JFpiano) (A0.1216991). (W/FINGERINGS)  //  avec DOIGTÉS SUGGÉRÉS)  This is a piano arrangement for the song Alice in wonderland, popularised by Bill Evans and many other musicians. It is also an ''Étude'' for learning the basic concepts of Jazz piano solo left-hand technics. Mostly the ''2-hands voicings'' , that is used on quite every measures, but played differently; sometimes in ''block style'', in arpeggios, and so on...Cet arrangement pour piano solo de la chanson Alice au pays des Merveilles, popularisée par Bill Evans et plusieurs autres musiciens est aussi une Étude pour apprendre différents concepts du Piano Jazz en solo pour la main gauche en particulier. On y voit majoritairement les voicings 2-mains, qui sont utilisées presqu'à chaque mesure, mais joués de différentes façons; en accords plaqués, arpégés, etc...pour info ou reporter des erreurs: jfpiano@hotmail.com.

Instrumental Solo,Organ - Level 4 - Digital Download SKU: A0.1471905 Composed by Guillaume de Machaut. Arranged by James M. Guthrie. Christian,Early Music,Historic,Medieval,Religious. Individual part. 23 pages. Jmsgu3 #1049538. Published by jmsgu3 (A0.1471905). 1. Kyrie 2. Gloria 3. Credo 4. Sanctus 5. Agnus dei 6. Ite missa est Guillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon and a permanent clergy member. According to a rubric at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Machaut's Messe de Nostre Dame is significant in the history of music for several reasons: It is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is a unified mass, meaning the composer selected relevant chants for each section as the borrowed tenor. It was composed in four voices, which was unusual at the time. The texts of both Gloria and Credo are pretty lengthy. Therefore, Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, ending with long, rhapsodic sections for the final word, Amen. Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for its uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus, and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. Although the Gloria and Credo have no apparent chant basis, they are stylistically related. The mass is unified, meaning the composer selected relevant chants as the borrowed tenor for each section. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, the Messe de Nostre Dame was a vital part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval and religious music.

Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.1259387 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Medieval. 38 pages. Jmsgu3 #852663. Published by jmsgu3 (A0.1259387). INSTRUMENTATION: 2 Alto flutes, 2 Bass Flutes1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons:1. It is the first complete setting of the Ordinary of the Mass by a single composer that has survived.2. It is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor.3. It was composed in four voices, which was unusual at the time.4. The texts of both Gloria and Credo are quite lengthy, and therefore Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, both ending with long, rhapsodic sections for the final word, Amen.Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for the sake of uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus, and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, the Messe de Nostre Dame was an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.

Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Level 2 - Digital Download SKU: A0.1257962 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Medieval. 85 pages. Jmsgu3 #851199. Published by jmsgu3 (A0.1257962). 1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons: It is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. It was composed in four voices, which was unusual at the time. The texts of both Gloria and Credo are quite lengthy, and therefore Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, both ending with long, rhapsodic sections for the final word, Amen. Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for the sake of uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus, and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, the Messe de Nostre Dame was an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.

Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.1257713 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Medieval. 38 pages. Jmsgu3 #850942. Published by jmsgu3 (A0.1257713). Guillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He composed the mass for the Cathedral at Reims, where he served as a canon, and a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Some scholars hypothesize that Machaut did not actually come to work for the Reims Cathedral until the end of the 1350s, composing the mass as an act of devotion and dedication marking his arrival in the precinct.Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons: It is the first complete setting of the Ordinary of the mass by a single composer that has survived. It is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor.   It was composed for four voices, which was unusual at the time. The texts of both Gloria and Credo are quite lengthy, and therefore Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, both ending with long, rhapsodic sections for the final word, Amen. Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for the sake of uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period.Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century.T.

Instrumental Solo,Organ - Level 4 - Digital Download SKU: A0.1472149 Composed by Guillaume de Machaut. Arranged by James M. Guthrie. Christian,Early Music,Historic,Medieval,Sacred. Individual part. 24 pages. Jmsgu3 #1049849. Published by jmsgu3 (A0.1472149). While the study score edition preserves the cross-voicing of the original four-voice score, the performance edition streamlines the cross-voicing to produce a far more accessible version for the organ. 1. Kyrie 2. Gloria 3. Credo 4. Sanctus 5. Agnus dei 6. Ite missa est Guillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon and a permanent clergy member. According to a rubric at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Machaut's Messe de Nostre Dame is significant in the history of music for several reasons: It is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is a unified mass, meaning the composer selected relevant chants for each section as the borrowed tenor. It was composed in four voices, which was unusual at the time. The texts of both Gloria and Credo are pretty lengthy. Therefore, Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, ending with long, rhapsodic sections for the final word, Amen. Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for its uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus, and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. Although the Gloria and Credo have no apparent chant basis, they are stylistically related. The mass is unified, meaning the composer selected relevant chants as the borrowed tenor for each section. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, the Messe de Nostre Dame was a vital part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval and religious music.