Guido Cagnacci
h=50 Tempo rubato
‹ 2 &2
Each staff with it's own distinct character.
∑
∑
j 2 Œ #˙˙˙ œœœ œœœ ™™™ #œœœ & 2 # ˙˙˙˙ œœœœ œœœœ ™™# œœœœ ™ - Cantabile, espressivo, sempre legato
? 22 ‹
{
p
œœœ b˙˙ ™ œœœœn#n˙˙˙˙˙ ™™™™™ -
˙˙˙ ˙˙˙˙
poco
∑
Joseph Pereira
. œ # œ Always sharp interruptive attacks, #œ U (8va) even at softer dynamics. ∑ ∑ ‰ ‰ JŒ Ó œœ œœœ b˙˙˙˙ ™™™™ œœ # ˙- ™
3
˙˙ ˙˙˙
mp
∑
U ˙˙ # n˙˙˙ ˙˙˙ ˙˙˙ n#˙˙˙˙ ˙˙˙˙ - p
U r ≈Œ Ó ∑ # œ rumbles similar to a ## œ-œ Low low tam tam effect.
Always lurking, but indistinct and (8va basso) with no one pitch dominating.
∑
∑
∑
Accidentals do not transfer to the octave and do carry through bar. They're often given again for clarity.
‰
∏∏∏∏
{
5. Martha Rebuking Mary for Her Vanity (after 1660)
ppp
° sempre, ad lib to connect all chords, and allowing lowest pitches to resonant. ^ œ. 7 ‹ bœœ. # œ ∑ Ó Œ ≈ ‰ ∑ & œ ˙ ™ & <#><#>œœœœœœ n˙˙˙˙ ™™™™ b ˙- ™ ? ∑ ‹
{
‹ & Ó
11
œ n˙ & <b>œœœœ# ˙˙˙˙ -
? ‹
nbnbww w ww #w w-
^. b œ b œ bœœ œ ‰ ≈ œ Œ 3
∑
œœ nbœœ œœœ#n œœœœœ >-
f
˙˙ ˙˙˙˙ ™™™™ ˙ ™
3
œœ # #n œœœœœ mp 3 Œ ‰ ‰ jÓ œ-œ pp
∑ ∑ ww w w w ww
3
nb˙˙ ˙˙˙ ™™™™ n# ˙˙ ™™
∑
œœ bn˙˙ œœœœ n˙˙˙ œ b ˙-˙ 3 Œ ‰ ‰ jÓ b œ-œ
œœ œœœ bnœœœœœ œœ -
∑
Œ ‰ ‰ œ bœ œ œ œ œ Ó J œ œœ œ œ#œ œbœ#œ#œ œ 3
p
5
nœœ œ b#œœœ-œ