37?

/va V A3?

IN NOMINE DOMINI

DISSERTATION

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

By

Timothy R. Crowley, B.M., M.M.

Denton, Texas

August, 1995

37?

/va V A3?

IN NOMINE DOMINI

DISSERTATION

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

By

Timothy R. Crowley, B.M., M.M.

Denton, Texas

August, 1995

Crowley, Timothy R. Tn Nnmine Domini. Doctor of Musical

Arts (Composition), August 1995, 108 pp., 7 examples, 23

figures, sources consulted, 33 titles.

In Nomine Domini is an eighteen-minute composition for

two chamber orchestras with two soloists using real-time

interactive signal processing techniques. The first chamber

orchestra is scored for flute (piccolo), English horn,

trumpet in C, trombone, two percussionists (cowbells, wood

blocks, tenor drum, suspended cymbal, gongs, tam-tam, temple

blocks, tambourine, snare drum, timbales, and bass drum),

horn in F (soloist), viola, and string bass. The second

chamber orchestra is scored for oboe, clarinet in Bb (bass

clarinet in Bb), bassoon, tuba, two percussionists

(crotales, two marimbas, vibraphone, chimes, and tom-toms),

piano (soloist), violin, and cello. Real-time interactive

signal processing techniques are achieved through the use of

a stereo multiple-effects signal processor and a personal

computer running MIDI interactive software.

The work is based upon the four-hundred and seventy-five

year old in nomine composition tradition begun by John

Taverner in the Benedictus of his Mass Gloria tibi Trinitas

(1520) and continued in over one-hundred and fifty

Renaissance settings. In Nomine Domini consists of three

movements: "Taverner* derived from the Benedictus of the

Mass Gloria tibi Trinitas (1520), "Byrd" derived from the

Benedictus of William Byrd's Five-voice Mass (1592), and

"Tye" derived from Christopher lye's In Nomine XIII "Trust"

(1578) .

In Nomine Domini applies the English art of change

ringing and three computer-assisted composition techniques:

stochastic processes, fractal applications, and conditional

probabilities.

Copyright by

Timothy R. Crowley

1995

111

ACKNOWLEDGEMENTS

The author would like to acknowledge the following

University of North Texas faculty who provided guidance

throughout my tenure as a graduate student: Cindy McTee, who

believed in nty potential and gave me my first teaching

responsibilities, Thomas Clark, who taught me the craft of

musical composition, and Larry Austin, whose skilled

pedagogy and artistic professionalism will always be a model

to me.

In Nomine Domini is dedicated to my wife, Ann Dillow

Crowley, a professional hornist and music educator, and my

most ardent supporter.

xv

TABLE OF CONTENTS

Page

ACKNOWLEDGEMENTS iv

LIST OF EXAMPLES vi

LIST OF FIGURES vii

Chapter

1. MODELING THE COMPOSITION viii

Introduction The "in nomine" genre Spatial arrangement Form Change ringing

2. TECHNICAL PROCESSES xxxi

Stochastic processes Fractal applications Conditional probabilities Interactive computer music systems Aesthetic rationale

APPENDIX A lv

APPENDIX B lxii

SOURCES CONSULTED lxxi

IN NOMINE DOMINI 1

LIST OF EXAMPLES

Example Page

1. Sarum antiphon "Gloria tibi Trinitas" xi 2. Altus voice of the Benedictus of Taverner's Mass

Gloria tibi Trinitas (1520) on "in nomine Domini* xii 3. Similarities between the "in nomine" sections of

Byrd Five-voice Mass (Benedictus) and Taverner, Mass Gloria tibi Trinitas (Benedictus) xv

4. Altus voice of In Nomine XIII *Trust* by Christopher Tye xvi

5. Dux of variation eight xxi 6. Comes of variation eight xxii 7. Variation five three bell "plain hunt* xxvi

VI

LIST OF FIGURES

Figure Page

1. Formal outline of In Nomine Domini with computer-assisted compositional techniques xvii

2. In Nomine Domini orchestration xviii 3. Spatial arrangement #1 ("proscenium arch") xix 4. Spatial arrangement #2 ("box") xx 5. Structural diagram for variation eight xxiii 6. A "plain hunt" peal with a six bell set xxv 7. Rhythmic ratio relationship in variation six xxvii 8. The five rhythmic levels of variation seven xxviii 9. Form and orchestration design of variation seven....xxix

10. Random numbers with simple averaging xxxii 11. Simple averaging MAX patch used in variation one..xxxiii 12. The Koch snowflake xxxv 13. Waschka's translation of Voss's 1/f algorithm

with sample procedure and output xxxvii 14. MAX patch for generating 1 If data xxxviii 15. MAX patch for generating "random walk" data xli 16. Transition table data for cantus firmus of

Taverner Mass Gloria tibi Trinitas (Benedictus)....xliii 17. Markov chain state diagram xliii 18. Partial Markov chain MAX patch xliv 19. Processing and response stages of interactive

computer music system used in In Nomine Domini xlvii 20. MAX front panel patch xlix 21. A MAX middle-level subpatch 1 22. A MAX lowest-level subpatch 1 23. An Ensoniq DP4 single-unit effect lii

VII

CHAPTER ONE

MODELING THE COMPOSITION

Introduction

In Nomine Domini is an eighteen-minute composition for

two chamber orchestras with two soloists using real-time

interactive signal processing techniques. The first chamber

orchestra is scored for flute (piccolo), English horn,

trumpet in C, trombone, two percussionists (cowbells, wood

blocks, tenor drum, suspended cymbal, gongs, tam-tam, temple

blocks, tambourine, snare drum, timbales, and bass drum),

horn in F (soloist), viola, and string bass. The second

chamber orchestra is scored for oboe, clarinet in Bb (bass

clarinet in Bb), bassoon, tuba, two percussionists

(crotales, two marimbas, vibraphone, chimes, and tom-toms),

piano (soloist), violin, and cello. Real-time interactive

signal processing techniques are achieved through the use of

a stereo multiple-effects signal processor and a personal

computer running MIDI interactive software.

Salient interactive computer music models include three

works by composer Cort Lippe: Music for Clarinet and ISPW

vixi

(1992), Music for Flute and ISPW (1992), and Music for

Sextet and ISPW (1993). The aesthetic outlined by Lippe in

his notes for Music for Sextet and ISPW reflects my own

interest in interactive computer music:

In Music for Sextet and ISPW, the relationship between the electronic and the instrumental parts lies somewhere in the middle of the continuum defined by the poles of the "transcendental"' (fused) and the "formal" (separate). At one end of this continuum, the electronics and instruments are separate, yet give musical support to each other; at the other end of the continuum, they function independently. I have tried to explore the musical ambiguity where one medium ends and the other begins, since this is what attracts me to live-electronic music. Thus, between the electronics and instruments, a continuous interplay exists between the fused and the separate. Meanwhile, working with computers keeps me questioning the fine line that separates music, sound, and "special effects".1

This "continuous interplay between the fused and the

separate" attracts me to interactive computer music. In

Nomine Domini incorporates interactive computer music within

historical compositional traditions and computer-assisted

compositional techniques.

^Cort Lippe, Music for Sextet and ISPW. Centaur Records, CDCM Computer Music Series, vol. 21, 1994.

xx

The "in nomine" genre

In Nomine Domini is categorized as a cant us firmus

composition, that genre of musical composition found most

prominently in the tradition of Continental Mass composition

from the late fourteenth until the late sixteenth centuries.

The composition uses a pre-existent monophonic model as the

musical foundation for the entire polyphonic composition.

Furthermore, In Nomine Domini belongs in the specialized "in

nomine" sub-genre which uses the Sarum antiphon "Gloria tibi

Trinitas" for the first Vespers of Trinity Sunday as the

cantus firmus for its polyphonic structure. The prototype

for this sub-genre is the long melismatic setting of the

text "in nomine Domini" by John Taverner (ca. 1490-1545) in

the Benedictus of his Mass Gloria tibi Trinitas (1520). It

is this setting that serves as the cantus firmus for In

Nomine Domini. The incipit title "in nomine" arose from

Taverner's circulation of the long melisma on "in nomine

Domini" as a separate untexted composition. Hundreds of

arrangements which incorporated the cantus firmus of his

Mass Gloria tibi Trinitas appeared in the following

century.2

My intent with my composition is to continue this

tradition by using three Renaissance "in nomine" settings as

2Don Michael Randel, ed., The New Harvard Dictionary of Music. (Cambridge: Harvard University Press, Belknap Press, 1986), 394-395.

models: John Taverner's Mass Gloria tibi Trinitas (1520),

William Byrd's Five-voice Mass (1592), and Christopher Tye's

In nomine XIII "Trust" (1578). My composition represents a

synthesis of an analysis of the pitch-class and rhythmic

vocabulary in each work. In Nomine Domini has three

movements, each subtitled in honor of the corresponding

model: "Taverner", "Byrd", and "Tye". The original Sarum

antiphon "Gloria tibi Trinitas" is shown in Example 1 below:

Example 1: Sarum antiphon "Gloria tibi Trinitas"3

XX

As expected with a cantus firmus composition, the

Benedictus of John Taverner's Mass Gloria, tibi Trinitas

(1520) presents the Sarum antiphon in the altus voice

beginning with the text "in nomine Domini" (Example 2):4

•i -

M M ni.

Example 2: Altus voice of the Benedictus of Taverner's Mass

Gloria tibi Trinitas (1520) on "in nomine Domini"

3Robert W. Weidner, ed., Christopher Tye: The Instrumental Music. (New Haven, Conn.: A-R Editions, Inc., 1967), x.

4P.C. Buck et al., eds., Tudor Church Music. (London: Oxford University Press, 1923), 1:148-149.

xxx

This twenty-seven bar melisma (in modern transcription)

is the basis for the "in nomine" genre. In fact, according

to Weidner, "the form became a kind of composer's test

piece, especially popular during the latter half of the

sixteenth century".5 Composers who contributed to the

genre after Taverner include: Philip Alcock, Richard Alison,

John Baldwin, John Banister, Elway Bevin, Edward Blancks,

John Blitheman, John Bucke, John Bull, William Byrd, William

Cranford, Arthur Cocke, Peter Maxwell Davies, John

Eglestone, Alfonso Ferrabosco (the elder and the younger),

Orlando Gibbons, Edward Gibbons, John Gibbs, George Gill,

Robert Golder, Edward Hake, Simon Ives, John Jenkins,

Matthew Jeffries, Robert Johnson, William Lawes, Thomas

Mericocke, John Milton, Henry Mudd, William Mundy, John

Mundy, Osbert Parsley, Robert Parsons, T. Pointz, Thomas

Preston, Henry Purcell, William Randall, John Sadler, Roger

Smalley, William Stannar, Henry Stonings, Nicholas Strogers,

Thomas Tallis, John Thorne, Christopher Tye, Thomas Tomkins,

John Ward, Thomas Weelkes, Robert White, William Whytbroke,

John Withy, Clement Woodcock, and Leonard Woodeson.6

I have chosen three Renaissance "in nomine" compositions

as models for my own continuation of the genre: 1) John

^weidner, xi. ^Warwick Edwards, "In Nomine," The New Grove

Dictionary of Music and Musicians, ed. Stanley Sadie (New York: MacMillan, 1980), 9:232—233. - ,

xxix

Taverner's prototype in the Benedictus of the Mass Gloria

tibi Trinitas7 (1520), 2) William Byrd's excerpt from the

Benedictus of his Five-voice Mass8 (1592), and 3)

Christopher Tye's instrumental setting In nomine XIII

'Trust"9 (1578) .

The "in nomine* cantus firmus is not readily apparent in

the Benedictus of William Byrd's Five-voice Mass; however,

there are clear similarities between the same location in

John Taverner's Benedictus of the Mass Gloria tibi Trinitas.

In fact, David Josephson labels a "suscipion" of Byrd's

homage to Taverner in pointing out the similarity of the

sections in each of the respective works.10 Byrd's work is

written in a much more compressed, imitative style than

Taverner's prototype, but the similarity in opening and

cadential gestures indicates that Byrd was modeling his work

on the Taverner example (Example 3).

^Buck et al.

®E.H. Fellowes, ed., The Collected Vocal Works of William Byrd, vol. 1, (London: Stainer and Bell, 1937), 110-111.

^Weidner, 3 9-42 .

lOphilip Brett, "Homage to Taverner in Byrd's Masses," Early Music. (April 1981) :174.

xiv

Example 3: Similarities between the 'in nomine" sections of

Byrd, Five-voice Mass (Benedictus) and Taverner, Mass Gloria

tibi Trinitas (Benedictus)

In contrast, the complete antiphon in Christopher Tye's

instrumental In nomine XIII "Trust" is presented in long

note values in the altus. Tye's style in this piece is

reminiscent of thirteenth-century rhythmic mode usage. A

quintuple metric organization with a constant pulse on the

last beat often emphasizes important pitch classes of the

cantus firmus either through repetition or ornamentation

(Example 4).

xv

jj '« J L J

Example 4: Altus voice of In Nomine XIII "Trust" by

Christopher Tye11

In Nomine Domini uses pitch and rhythmic material from

each respective model as data for computer-assisted

compositional techniques to be discussed in Chapter Two. In

fact, In Nomzne Domini is constructed as a theme with eight

variations. The -Gloria tibi Trinitas- cantus firmus serves

^Weidner, 39-42.

xvi

as the theme, and each successive variation applies a

computer-assisted compositional technique to the cantus

firmus pitch and rhythmic vocabulary (Figure 1).

I. Taverner THEME ("Gloria tibi Trinitas') VARIATION ONE [stochastic processes] VARIATION TWO [Fractals w/time points] VARIATION THREE (perpetuum mobile) ["random walk"] VARIATION FOUR (choral) [First-order Markov chain] CODA (on "Domini")

II. Byrd VARIATION FIVE [change ringing] VARIATION SIX [change ringing] VARIATION SEVEN [change ringing]

III. Tye VARIATION EIGHT (canon) [Fractal applications]

Figure 1: Formal Outline of In Nomine Domini with computer-

assisted compositional techniques

Spatial arrangement

In Nomine Domini is scored for two spatially separate

chamber orchestras labeled "Orchestra A" and "Orchestra B"

and two soloists (Figure 2).

XVI1

Orchestra K

Flute (Piccolo)

English Horn

Trumpet in C

Trombone

Percussion 1

[cowbells (3), wood blocks (3), tenor drum,

suspended cymbal, gongs (2), tam-tam]

Percussion 2

[temple blocks (5), tambourine, snare drum,

timbales, bass drum]

Horn in F (soloist)

Viola

String Bass

Orchestra B Oboe

Clarinet in Bb (Bass Clarinet in Bb)

Bassoon

Tuba

Percussion 3

[crotales (2 octave set), marimba (4+1/3),

vibraphone]

Percussion 4

[chimes (tubular bells), marimba (4+1/3),

tom-toms (3)J

Piano (soloist)

Violin

Cello

Figure 2: In Nomine Domini Instrumentation

The spatial placement of both orchestras is crucial to a

successful performance because all instruments (except

percussion) will be processed by an analog-to-digital signal

effects processor and because the resulting stereo effects

XVlll

will provide an aurally blurred scenario for the listener.

As I am primarily interested in the processed (hereafter

referred to as "wet") sound of the instrumentalists, but

recognize that unprocessed ("dry*) sound will still be

aurally apparent at the source, spatial separation of the

two orchestras will provide additional aural cues to the

listener. To this end, two arrangements are proposed. The

first arrangement, referred to as a "proscenium arch" stage,

is given in Figure 3. The second arrangement, referred to

as a "box* stage, is given in Figure 4. From my experience

with stereo effects signal processors, arrangement two will

provide the more distinctive aural cues for the listener.

&

03 m

Tub* fbo.

op <*, P!

|P2l

?9*

fpTI

Audtono*

Console

/

-4

Figure 3: Spatial arrangement #1 ("proscenium arch")

xix

Tin.

o

IS III Ell ED

Audtonn

g-,- ** s O 2- --=Sr^^ r—" O O ** o . .7- --•>< * o Jr. ~As\ o * 4 » *

Console

- - 4

Figure 4: Spatial arrangement #2 ("box')

Form

Jn Nomine Domini is constructed as a theme and

variations form based on the original 'Gloria tibi Trinitas"

antiphon cantus firmus. In the following chapter, I will

discuss the various computer-assisted techniques used to

create the musical material in each variation at length. I

have organized the variations into three distinct movements,

according to the original "in nomine* models and for

practical performance considerations. The inclusion of a

coda in the first movement may seem contradictory, but I

believe closure is necessary at this particular point in the

work. Historically, variation forms have always been

loosely defined. Regardless, my coda is simply an

xx

instrumental arrangement of Taverner's four-voice closure to

the Benedictus of the Mass Gloria tibi Trinitas on the text

-Domini- and a brief return to the original model provides

relief from the intricate material which precedes and

follows.

The second movement, -Byrd-, is constructed solely on

the well-developed historical English technique of change

ringing. Variations five, six, and seven use different

numbers of -bells- in 'plain hunt- peals, a contemporary

allusion to sacred music compositional practice in the late

sixteenth century. Change ringing will be discussed in

detail later in this chapter.

The final movement, -Tye", is a six-voice strict canon

at the interval of a perfect fifth. The dux (Example 5) is

a dorian mode fragment taken directly from measure one of

Tye's In Nomine XIII 'Trust*. The comes (Example 6) is

taken from the same source in the cantus voice (mm. 28-34) .

Exaitple 5: Dux of variation eight

xxi

Example 6: Comes of variation eight

The canon consists of six voices with each successive

voice entering at an interval of a perfect fifth higher than

its predecessor beginning with pitch-class "d" (e.g., d-a-

e-b-f#-c#). Also, each successive entry is shortened in

length. For example, the first voice (on "d") states the

dux and the comes and then repeats this material five times

(for six total statements). The second voice (on "a")

enters at the comes of voice one and states its dux and

comes five total times. All other voices follow until the

final voice (on *c#*) presents its material only once

(Figure 5).

xxn

voice 61-

voice 2

voice 4 f

dux , comma - + -

voice eama i X-

voice 3|-

voice 5

Figure 5: Structural diagram for variation eight (canon)

With the exception of variation eight, the canon

mentioned above, formal structure within each variation is

determined by the individual computer-assisted compositional

technique employed, the change ringing outline, or through

intuitive decisions.

Change ringing

Lejaren Hiller's discussion of the English art of change

ringing12 in computer-assisted composition is provocative.

l^Lejaren Hiller, "Composing with Computers: A Progress Report," Computer Music Journal. (Winter 1981) 5:15-16.

XXlll

Change ringing is the tradition of bell ringing which

flowered during the seventeenth century. The practice dates

back to the fourteenth century when swinging bells were used

to signal the appropriate hour of the Proper of the Time.

As ringing of particular sets of bells in strict order

became tiresome to the listener, permutations were devised

whereby bells could be rung in different orders ("changes"),

the most common types of which involved a "lead" bell which

would follow a course through each successive change. The

total number of possible permutations without repetition (a

"peal") is equal to the factorial of the number of bells

(i.e., with 6 bells, 6! or 6 x 5 x 4 x 3 x 2 x 1 =720).

However, in changes with a lead bell, a peal is determined

by the number of changes the lead bell requires to return to

its original position. In the case of six bells above, only

twelve of the possible seven-hundred and twenty changes are

required (Figure 6). This type of change ringing is

described as a "plain hunt".

xxiv

change l 1 2 3 4 5 6 2 2 1 4 3 6 5 3 2 4 1 6 3 5 4 4 2 6 1 5 3 5 4 6 2 5 1 3 6 6 4 5 2 3 1 7 6 5 4 3 2 1 8 5 6 3 4 1 2 9 5 3 6 1 4 2 10 3 5 1 6 2 4 11 3 1 5 2 6 4 12 1 1 2. 5 A £ 1 1 2 3 4 5 6

Figure 6: a "plain hunt" peal with a six bell set

Plain hunting produces twice as many changes as there

are bells, each bell being struck twice in each position of

the row, once on the way up and once on the way down. A

plain hunt can be written out by reversing the order of

bells in each pair of adjacent numbers. In the six-bell

example above, each of the three pairs is reversed for the

second change. For the next change, only the inner two

pairs are reversed; the remainder of the peal is completed

by alternating pairs until the original order returns.13

I have confined my compositional applications to "plain

hunting* in variations five, six, and seven of In Nomine

Domini. Variation five uses a three, six, and twelve bell

-^Wilfrid G. Wilson, "Change ringing," The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (New York: MacMillan, 1980), 5:129-134.

XXV

"plain hunts" using the pitch gamut found in the Benedictus

of William Byrd's Five-voice Mass (1592) . Each "plain hunt1

is orchestrated with an instrument assuming the identity of

a "bell" (Example 7). The "plain hunts" are then

superimposed upon each other to form a convoluted

contrapuntal and timbral identity. Above this

accompanimental fabric, a rhythmically diminished twelve-

bell "plain hunt" melody is given to the soloists.

© 0

Example 7: Variation five three bell "plain hunt"

Variation six is based solely on an eight-bell "plain

hunt." The variation is built upon three strata according

to rhythmic augmentation or diminution. . The first stratum

XXVI

(crotales and chimes) consists of three continuous, complete

peals (sixteen changes) of quarter notes in simple quadruple

meter. The second stratum (mm. 80-96, 124-139 horn, via.,

bass, piano, vln.,and cello) is composed of two separate

peals of eighth notes in simple quadruple meter. Finally,

the third stratum is in a sesquitertia relationship (4:3)

with the first layer with half-note triplets re-notated in

compound quadruple meter (mm. 106-148). The resultant

structure is a ratio of 4:8:3 (Figure 7). That is, within

one whole note, four events in stratum one correspond to

eight events in stratum two and three events in stratum

three.

J J J [J J J_J-

n n n n f i r

J J [J J J fj J_ *

jy | Jhi n^J«»J JlJ" [ikji iiuiiiJ 1 I' |

Figure 7: Rhythmic ratio relationship in variation six

XXVI1

In variation seven, the soloists assume a prominent role

with the twelve-bell 'plain hunt* material presented in

variation five, and the homophonic texture is renewed with a

three bell plain hunt in the accompanimental voices.

However, this accompanimental texture defines the form for

the variation. Four complete cycles of interwoven three-

bell peals at five rhythmic levels determine the musical

course of the variation. The five rhythmic levels are

summarized in the table below {Figure 8):

Level Unit Meter A J compound dup1e (6/8)

B J simple triple (3/4)

c J- compound duple (6/8)

D J simple triple (3/4)

E J compound duple (6/8)

Figure 8: the five rhythmic levels of variation seven

The shifting orchestration of the accompaniment in

variation seven is intuitively designed to complement the

plain hunt concept applied in the pitch and rhythmic

domains. This orchestrational shifting is intended to

provide relief from the monotony of a three bell plain hunt

in a fixed group of instruments. The following figure

presents the formal relationships of variation seven

discussed above and the overall interrelationship of the

xxviii

accompanimental orchestration texture (Figure 9):

A B C D E

18 H -

36 —I—

54

-* h

l 1 I 1

—< I— -l i-

i 1

—1 I— -I i-

72

l 1

Violin Marimba

Tuba / / .0

.if

0

0

Piccolo / Bass Drum String Bass

y

s

* / / y

0 0

Trumpet / Eng. Hn.

Trombone

s s

/

* /

/ "

* y

/ Vibraphone

Oboe CeMo

/ s

* /

/ /

s Clarinet ''' Viola

Bassoon

/ Violin

Marimba Tuba

Piccolo Temple blocks

String Bass

Trumpet Eng. Hom Trombone

B

D

Figure 9: Form and orchestration design of variation seven

xxix

My application of change ringing is confined to the

"plain hunt" method, although other methods are far more

complex. Wilfrid Wilson's exhaustive explication of change

ringing discusses such methods as "plain bob," "singles,"

"grandsire," "stedman," "double norwich," "treble bob," and

many variants.14 The reader is encouraged to consult this

source as a reference for the English art of change ringing.

Lejaren Hiller's discussion of change ringing in reference

to his composition Algorithms II presents graphic

representations of computer subroutines which create three

change ringing methods: "plain bob," "bob," and

"singles."15

14Wilfrid G. Wilson, Change ringing. (New York: October House, 1965).

15Hiller, 15-16.

XXX

CHAPTER TWO

TECHNICAL PROCESSES

Stochastic processes

The application of the computer to various aspects of

music has been a compositional practice since the mid-1950s.

Common descriptive labels which specify that type of

composition in which the computer helps determinme the music

being constructed include computer-assisted composition,

algorithmic composition, computer-aided composition,

automatic composition, and systematic composition. Within

the context of this paper, I will use the term "coirqputer-

assisted composition" in a generic sense to include all of

the above labels. The use of computers to construct

aleatoric or stochastic music, in which events are generated

according to the statistical characterization of a random

process, and the use of computers to calculate permutations

of a set of predetermined compositional elements are the two

applications of computer-assisted composition employed in In

Nomine Domini. In this section, I will discuss the

stochastic applications used in In Nomine Domini . I chose

XXXI

to use a Macintosh computer running the interactive MIDI

software MAX for both types of computer-assisted

composition.1

Variation one of In Nomine Domini is constructed with a

stochastic process decribed as a simple averaging of two

discrete, uniformly-distributed random numbers.2 This

process is an analog of a digital sound-synthesis algorithm

designed by Kevin Karplus and Alex Strong3 and explicated

by Dodge and Jerse.4 In this process, a series of

uniformly distributed random numbers is generated with each

successive pair of numbers summed, then averaged (Figure

10) .

#: 9 13 5 3

avg: 11 4

Figure 10: Random numbers with simple averaging

I designed a MAX patch which would accomplish this task

filler Puckette and David Zicarelli, MAX: an interactive graphical programming interface, (Paris: IRCAM/Opcode Systems, 1991).

2Rodney Waschka, Let Me Make it Simple for You, (Denton, TX: University of North Texas, 1990), 1-3.

3Kevin Karplus and Alex Strong, "Digital Synthesis of Plucked-String and Drum Timbres,* Computer Music Journal, (Cambridge: MIT Press, 1983), 7 (2):424-431.

4Charles Dodge and Thomas Jerse, Computer Music: Synthesis, Composition, and Performance, (New York: Schirmer, 1985), 238-240.

XXXIX

and generate a series of up to ten averaged numbers between

zero and twelve, excluding the numbers three and eight

(Figure 11) . This data was then used in the pitch class and

rhythm domain of variation one. All pitch class data

corresponded to the pitch classes chosen by John Taverner in

the Benedictus of his Mass Gloria tibi Trinitas. Rhythms

were plotted according to duration with either the sixteenth

or eighth note as the basic rhythmic unit. For example, a

stream of ten averaged numbers ( 5 6 5 5 5 11 5 9 2 2 ) would

represent pitch classes f-f#-f-f-f-b-f-a-d-d, and the

rhythmic series , given

the eighth note as the basic rhythmic unit.

IlifttlQ

court cr nrm

mnoott 13 I Irindon 13

Figure 11: Simple averaging MAX patch used in variation one

XXX1X1

Fractal applications

Fractal geometry, a field of mathematics proposed by

Benoit Mandelbrot5, attempts to describe forms that were

previously dismissed as "amorphous." Through the computing

of fractal relationships, artists have been able to make

immeasurably more realistic computer realizations of such

natural forms as mountain ranges, coastlines, archipelagos,

and plants.6 Composer Larry Austin is an example of such

an artist who uses the computer to calculate natural

fractals in order to construct a work that evokes the

physical properties of his sonic image.7

One of the simplest fractals, the Koch snowflake, is a

member of a class of fractals called space-filling curves.

The Koch snowflake is made by adding to an equilateral

triangle three more equilateral triangles of smaller scale,

one to each side. When this recursive procedure is applied

an infinite number of times, the resulting serrate edge

surrounding the figure becomes infinitely long.8 The Koch

5Benoit Mandelbrot, The Fractal Geometry of Nature, (New York: W.H. Freeman, 1982).

6R.F. Voss, "Fractals in Nature: from Characterization to Simulation," The Science of Fractals, (Berlin: Springer-Verlag, 1988).

7Larry Austin, Canadian Coastlines, (New York: American Composers Alliance, 1981).

8Charles Dodge, "Profile: A Musical Fractal," Computer Music Journal, (Cambridge: MIT Press, 1988), 12(3):10-14.

XXXIV

snowflake exhibits a property called self-similarity—the

same shape projected on different scales. Self-similarity

is a property shared by all fractals (Figure 12).

Figure 12: the Koch snowflake

A phenomenon closely related to self-similarity is 1/f

noise. 1/f noise is a member of a class of random phenomena

known as fractional noises, which includes white noise

(1/fO) and Brownian noise (1/&). Mandelbrot and others

have discovered that 1/f noise pervades much of nature and,

in fact, can be linked to long-term characteristics of much

Western music. Musical details often mirror the large-scale

structure of a composition; they are, in essence, self-

similar. 1/f music correlates more strongly to the

immediate past than white noise and more strongly with the

distant past than does Brownian noise. Algorithms for

computing music with 1/f noise have been published by

XXXV

Voss9, and Dodge and Jerse.10 Voss's algorithm is applied

in In Nomine Domini in variation two to the pitch and rhythm

domains, in variation three to textural choices, and in

variation eight to articulation choices. Waschka gives an

excellent linguistic translation of Voss's 1/f algorithm11:

1. In binary notation, write out the decimal

numbers 0-7.

2. Assign each digit to represent a six-sided

die.

3. Roll all three dice for the "0" state.

4. Add the dice numbers; output the sum.

5. Go to the next binary number and compare it

to the previous number.

6. If a digit has changed from 0 to 1 or from 1

to 0, roll the die associated with that

digit.

7. Add the dice numbers; output the sum.

8. Check to see if this is the last binary

number (if no, go to step 5, if yes, stop).

For clarification, a sample of the output is reprinted in

Figure 13:

^R.F. Voss and J. Clarke, "1/f Noise in Music: Music from 1 If Noise, * Journal of the Acoustical Society of America, (New York, 1983), 63:258-263.

10Dodge and Jerse, Computer Music, 290. 1:lWaschka, Let Me Make it Sinqole for You, 5.

XXXV1

BINARY #s PROCEDURE RESULT sm 0 0 0 roll all three dice 5 + 3 + 4 = 12 0 0 1 roll die #3 only 5 + 3 + 2 = 10 0 1 0 roll dice #2 and #3 5 + 6 + 3 = 14

0 1 1 roll die #3 only 5 + 6 + 4 = 15

1 0 0 roll all three dice 2 + 1 + 3 = 6

1 0 1 roll die #3 only 2 + 1 + 4 = 7

1 1 0 roll dice #2 and #3 2 + 2 + 5 = 9

1 1 1 roll die #3 only 2 + 2 + 1 = 5

OUTPUT: 12 10 14 15 6 7 9 5

Figure 13: Waschka's translation of Voss's 1/£ algorithm

with sample procedure and output

Using Waschka's transcription as a model, I created a MAX

patch designed to fulfill the characteristics of 1/f noise

(Figure 14). In variation two, the output from this patch

was printed and then systematically applied as pitch data

with integers from three to eighteen using a modulo twelve

system for pitch identification (i.e., 12=0, 13=1, 14=2,

etc.). Another similar data stream was then used to

determine the time-point location of successive pitches.

xxxvn

rrr^iam

[nJceMSB

^ 0 ^ S m \ / 0 * 2 ^ Dit 3

InnHom f I |raix»o« 7 | |rando» 7 |

R a ^ n m Ml tot 3 19 1

rnr.rmmrr.rmm

Figure 14: MAX patch for generating 1If data

In variation three, textural choices were made by

assigning numbers to available instruments in score order

(one through eighteen) and using the 1If data stream to

determine the orchestration for four different rhythmic

strata. An examination of the sixteenth-note rhythmic

stratum throughout variation three will reveal the self-

similar nature of the data stream. The texture begins with

the horn (performer #7), changes to the vibraphone

XXXVlll

(performer #14) in meas. 89, moves to the violin (performer

#17) in meas. 92, and continues in this manner throughout

the variation. 1/f data also determined the nature of the

three other rhythmic strata (half-note, quarter-note, and

eighth-note) throughout the variation.

As with Figure 11, the self-similar 1 / f MAX algorithm was

modified to exclude all instances of the numbers three (3),

eight (8), and fifteen (15). These numbers would produce

pitch data which was incompatible with the Taverner model.

In addition, data streams were limited to only ten numerals

in accordance with the ten available pitch classes used by

Taverner.

Conditional probabilities

The second type of computer-assisted compositional

technique used in In Nomine Domini involves the creation of

conditional probability environments, also referred to in

the computer music literature as Markovian processes or

transition tables.12 Conditional probabilities differ from

stochastic processes in that the probability of obtaining a

result is dependent upon past results; stochastic processes

generate results that are independent of past results.

Thus, a sequence generated by conditional probabilities has

some degree of apparent relation between the numbers of the I2Dodge and Jerse, Computer Music, 283.

XXXIX

sequence. There are three fundamental techniques of

conditional probabilties used in computer-assisted

composition: "random walks," Markov chains (transition

tables), and processes that are specified in terms of their

spectra. In Nomine Domini employs two techniques: a "random

walk" algorithm and a Markov chain process.

Variation three uses the "random walk* algorithm to

generate data for its pitch domain. A close examinination

of the horizontal melodic lines in mm. 86-89 will reveal a

wandering line with small intervals separating successive

pitches and an apparently unpredictable sense of direction.

This is a classical description of a conditional probability

that is limited in terms of its boundaries, the distance of

each step toward a boundary, and by having an "elastic"

boundary (i.e., movement is not terminated when a boundary

is reached; rather, the movement is rebounded into the

possible range of choices),13 An analogy to such a

condition portrays a man who begins at the middle rung of a

five-rung ladder (which has each rung numbered from zero to

four with zero being the lowest rung). The coin is tossed

to determine the direction he will travel one step, with

"heads" indicating one step up and "tails" indicating one

step down. As he is on the middle rung (rung #2) the

probability he will travel to the lowest rung (rung #0) with

13Dodge and Jerse refer to this scenario as a "controlled random walk".

xl

one toss of the coin is zero, as he is limited to climbing

only one rung in either direction. The probability that he

will climb up (or down) one rung is .5 (50%) and the

probability that he will stay on the same rung is zero, as

he must move with each toss of the coin. If he is on the

top-most rung (rung #4), the probability that he will climb

down one rung (rung #3) is one (100%), as he must move with

each toss, there are no higher rungs on the ladder, and the

boundary is "elastic."

In Nomine Domini implements a slightly more sophisticated

"random walk" in variation three. A MAX patch was designed

that would construct data streams exhibiting "random walk"

behavior within the following parameters: 1) pitches

selected at random but confined to a range of twelve

semitones or less, 2) the size of the melodic interval

limited to five semitones or less, and 3) all instances of

pitch class three (3) or eight (8) filtered out (Figure 15).

These data streams were then applied to fixed rhythmic units

r = L P 1In • I'M

>12

Emu* EZX3U1

UZZMM

1ZMM

Figure 15: MAX patch for generating "random walk" data

xli

The second type of conditional probability used in this

dissertation is the Markov chain or transition table. For

purposes of this discussion, I will limit myself to a

description of first-order Markov chains—Markov chains

dependent upon consideration of only one past event. In

Nomine Domini uses a first-order Markov chain in variation

four in the pitch domain. Pitch choices were taken from the

cantus firmus of the Taverner model (nine pitches in the

dorian mode — cl-d2-e-f—g-a-b^-c2-d2). A statistical

analysis of it was then performed to determine the

percentage data for a transition table (Figure 16). The

table is read by reading the initial state on the "y" axis

(e.g., CI) and then reading horizontally along its row to

determine the percentage chance of a resultant state (the

"x" axis) . For example, from the CI initial state, we can

determine that the Dl resultant state will occur 50% of the

time. Another pictorial representation of the Taverner

cantus firmus Markov chain is given in Figure 17.

xlii

0 0

£1 El fi E fi CI 0 50% 0 50% 0 Dl 33% 50% 0 17% E 0 100% 0 0 F 0 9% 9% 27% 55% G 0 0 0 45% 9% A 0 0 0 6% Bb 0 0 0 0 C2 0 0 0 0 D2 0 0 0 0

A 0 0 0 0 46%

24% 53% 0 0 0

fib 0 0 0 0 0 6%

100% 0 66% 0 0 0

£2 0 0 0 0 0 11% 0 0

Dl 0 0 0 0 0 0 0 34%

100% 0

Figure 16: Transition table data for cantus firmus of

Taverner Mass Gloria tibi Trinitas (Benedictus)

100% H l B h r , a w « d

Figure 17: Markov chain state diagram

xliii

Using this analysis data, a MAX patch was designed that

would generate new pitch material with inter-relationships

similar to the "Gloria tibi Trinitas" antiphon. (A portion

of this patch is shown in Figure 18.) This pitch material

was then used to construct the chorale in variation four.

Each phrase of the chorale was uniformly constructed with

ten pitches.

S3

grrikjnrRRQ

fan EED E

En

M M-JI I

is

RBcrran

ED BSSSSESESSS31 EE3 EZZD

Figure 18: partial Markov chain MAX patch

xliv

Interactive Computer Music Systems

According to Robert Rowe, interactive computer music

systems "are those whose behavior changes in response to

musical input."14 His three-tiered classification system

is an excellent codification model for this otherwise ill-

defined recent field of musical research. The first

classification system distinguishes between score-driven and

performance-driven systems:

Score-driven programs use predetermined event

collections, or stored music fragments, to match

against music arriving at the input.

Performance-driven programs do not anticipate

the realization of any particular score. In

other words, they do not have a stored

representation of the music they expect to find

at the input.15

The second classification system groups response methods

as being transformative, generative, or sequenced:

Transforative methods take some existing musical

material and apply transformations to it to

produce variants. The source material need not

be stored...often such transformations are

applied to live input as it arrives. Generative

algorithms, on the other hand, use sets of rules

to produce complete musical output from stored

14Robert Rowe, Interactive Music Systems, (Cambridge: MIT Press, 1994), 1.

15Ibid., 7.

xlv

fundamental material. Sequenced techniques use

prerecorded music fragments in response to some

real-time input.16

The last classification distinguishes between instrument

and player paradigms:

Instrument paradigm systems are concerned with

constructing an extended musical instrument:

performance gestures from a human player are

analyzed by the computer and guide an elaborated

output exceeding normal instrumental response.

Systems following a player paradigm try to

construct an artificial player, a musical

presence with a personality and behavior of its

own, though it may vary in the degree to which

it follows the lead of a human partner.17

In Nomine Domini utilizes a commercial analog signal

processor controlled by a Macintosh computer running MAX

software in real-time. Audio signals from the performers

are transduced into the analog domain through microphones

and then received by the signal processor (in this case, an

Ensoniq DP4). Simultaneously, MIDI (Musical Instrument

Digital Interface) controller signals are sent from the

computer to the signal processor, where they process

parameters of the audio signal in real-time (Figure 19).

While not a complete interactive computer music system as

described by Rowe and Winkler,18 this system does iirqplement 16Ibid., 7. 17Ibid., 8. 18Todd Winkler, "Interactive Signal Processing for

xlvi

two-thirds of their recipe—processing and response.

Implementation of the remaining portion, sensing, could be

achieved with a pitch-to-MIDI convertor, but such devices

are often inaccurate and expensive. The ideal

implementation of the system used in In Nomine Domini would

be to avoid the MIDI protocol (with all of its bandwith and

transmission limitations) and process the audio signal in

the digital domain in real-time. Such systems require an

expensive high speed digital processor (Motorola 56000-

series, Intel i860, or RISC architecture), which is often

not a viable financial alternative for computer music

practitioners.

Processing and Response audio signal (voltage)

Cdry-}

signal processor

— r ~ —

MIDI controller signal

alered audio signal Own

Figure 19: Processing and response stages of interactive

computer music system used in In Nomine Domini

Acoustic Instruments," Proceedings of the International Computer Music Conference, (Montreal, 1991), 545-548.

xlvii

Therefore, according to Rowe's classification system, In

Nomine Domini can be described as a performance-driven

program (computer-driven gestures are not stored or reliant

upon a score, but are dependent upon performance input)

using a tranformative method (real-time timbre alteration

with a signal processor driven by the computer) in an

instrumental paradigm (musical gestures from the

instrumentalists are analyzed by the signal processor, which

creates an extended instrumental output).

In order to inplement real-time control of the processing

and response portions of this interactive computer music

system, a software algorithm was created in MAX (Figure 20).

This particular MAX patch is a three-level patch with two

subpatches embedded within the front patch. The topmost

level consists of general operative controls and elapsed

time information (a "docker" object displays elapsed-time

in milliseconds) . In Nomine Domini is designed to have

eight continuous MIDI controllers in simultaneous operation

in each variation. Notice that there are eight variation

"patcher" objects on the topmost level and that each

corresponds to a middle-level subpatch. Each middle-level

subpatch contains eight more subpatches that contain the

various stochastic or fractal algorithms for driving the

continuous MIDI controllers (Figures 21 and 22). A complete

listing of MAX patches from the highesjt to lowest levels is

xlviii

included in Appendix A.

In Nomine Domini

RESET

0

Note: This front panel is designed to interface with an Ensoniq DP4 parallel effects processor in a 1U configuration mode. See accompanying documentation for specific description of parameter effects.

r0

0

0

0

0

0

click here to start or stop

• • • • [ p a S S h w v ^ T ]

•

• •

Figure 20: MAX front panel patch

xlix

A: 8 VOICE CHORUS

B: FLANGER

C: PITCH SHFT1R

I"! [patch

•

• •

J * I if $i1« i

D:PANNER

• • • E r a ]

Figure 21: A MAX middle-level subpatch

u

L T 1 U

Figure 22: A MAX lowest-level subpatch

In addition to designing the MAX patch which would

control the signal processor in real-time, the signal

processor itself was configured with eight custom-designed

effects (one for each variation). Controller information

had to be mapped to appropriate parameters within each

effect. The signal processor chosen for In Nomine Domini,

an Ensoniq DP4, was configured in a single-unit mode (i.e.,

the audio signal traveling through four digital signal

processors in series before exiting the unit). An example

of a single-unit effect is shown in Figure 23. During a

performance, the electronics technician will advance the

system to the next effect with a control-voltage pedal at

the specified point in the beginning of each variation.

This cue is located in the center of the score with an arrow

pointing to a text decription of the following MAX patch

(e.g., "MAX: [VAR.3]"—the signal processor effect label

being similar). Therefore, the electronics assistant will

first advance the signal processor and then click with a

mouse on the appropriate button in the MAX front panel. A

complete list of self-designed effects is presented in

Appendix B.

li

A B c D Pitch Shifter -DDL PhchShifter-DDL Pitch Shifter-DDL Pitch Shifter-DDL

01 MIX 01 MIX 01 MTX 01 MIX 02 Volume 02 Volume 02 Volume 02 Volume 03 Vcl P<b Shft 03 Vd Pch Shft 03 Vd Peb Shft 03 Vcl Feb Shft 04 V d Feb Shft Fine 04 Vcl Feb Shft Fine 04 Vd Feb Shft Fine 04 Vcl Feb Shft Fine 03 Yd Peb Shft Lrl OS Vd Pch Shft L* 05 Vd Pch Shft LTI 05 Ycl Peb Shft LYI 00 VdPebShftPitt 06 Vd Feb Shft Pan 06 Yd Peb Shft Fan 06 Vcl Pch Shft Pxt 07 Vc2 Peb Shft 07 Yc2 Feb Shft 07 Vc2 Pch Shft 07 Vc2 Peb Shft 08 Vc2 Pch Shft Fine 00 Vc2 Feb Shft Fine 08 Vc2 PA Shft Fine 08 Vc2 Feb Shft Fine 09 Vc2PebShftL*l 09 Vc2 Feb Shft Lvl 09 Vc2 Pch Shft Lrl 09 Vc2 Feb Shft Lvl 10 Vc2 Pch Shft Pan 10 •c2 Feb Shft Fan 10 Vc2 Pch Shft Fan 10 Vc2 P<b Shft Fan 11 Pch Shft Diy DDL 11 Feb Shft Day DDL 11 Pch Shft Diy DDL 11 Pch Shft Dxy DDL 12 Pch Shft Lft Tin* 12 Feb Shft Lft Time 12 Pch Shft Lft Time 12 Pcb Shft Lft Time 13 FchShftRtTtau 13 Peb Shft Rt Tin* 13 Pch Shft Rt Time 13 FchShftRt Time 14 PchShftDlyMix 14 Feb Shft DXyMix 14 Peb Shft Dly Mix 14 Pcb Shft Dly Mix 15 Pch Shft Dly Rega 15 FebShft Dly Rega 15 Pcb Shft Dly Regn 15 Pcb Shft Dly Rega 16 Modi Sic»MIDI3 16 Modi SzcaFcbBnd 16 Modi Sxc«MIDI5 16 Modi Sic*volumc 17 Modi Faxamp04 17 Modi PaxaartB 17 ModlFazamri* 17 ModlPaxaoa^l2 18 Modi Range Mia 18 Modi Range Mia 18 Modi Range Min 18 Modi Range Mia 19 Modi Rang< Mix 19 Modi Range Max 19 Modi Range Max 19 Modi Range Max 20 Mod2 Sic«MIDI4 20 Mod2Sxc-Mod«d 20 Mod2Sxc-MIDI6 20 Mod2 Sic«pannez 21 Mod2 FaxampaOO 21 Mo42FaxaRikp05 21 Mod2Faxam»10 21 Mod2Paxatn»13 22 Mod2 Range Mia 22 Mod2 Range Mia 22 Mod2 Range Mia 22 Mod2 Range M1a

23

Mod2 Range Max 23 Mod2 Range Max 23 Mod2 Range Max 23 Mod2 Range Max

Figure 23: An Ensoniq DP4 single-unit effect

Aesthetic rationale

Interfaces that cross the boundaries between humans and

machines have presented fascinating compositional

possibilities and exciting aural experiences for me

throughout my graduate education. As I am formally trained

as an acoustic instrumental performer, I appreciate the

expressive nuance and musicality that skilled human

performers can bring to the creative process. Similarly,

through formal training in computer-music compositional

lii

techniques, I am aware of a brilliant sonic landscape that

is available through applications of technology to music.

My musical aesthetic, therefore, is based upon an

interactive collaboration between humans and machines where

the strengths of both worlds are fused to form new musical

constructs. These constructs equal or transcend the

expressivity of either "machine-generated" or "human-

generated" musical compositions. In the future, I will

perhaps compose music for an interface that will narrow the

distinction between human and machine even further (possible

in the near future because of present research in artificial

intelligence). Certainly, with the ubiquitous nature of

computers in our present society (especially their

incorporation into the fine arts), we are on the brink of

musical invention. The prophecies of such musical

visionaries as Varese, Ives, Cage, and Boulez have only

begun to be realized. Human performers will still exist as

a central part of the musical equation, but those composers

who implement real-time interactivity between humans and

powerful computers will be the subject matter of the next

chapters in musical history. Indeed, if art reflects the

values of society, I cannot imagine musical perfromance

continuing to ignore the implications of present-day

computer technology. For most composers, computers already

dominate music manuscript production. For the past thirty-

liii

five years, pioneers in all genres of computer music have

been engaged in technological/musical experiments with high

degrees of success. Twenty-first century musicians will be

forced to adapt to the impetus of technology; musicians

should interact rather than react.

liv

APPENDIX A

MAX PATCHES

l v

Front Panel:

In Nomine Domini

RESET

13

Note: This front panel is designed to Interface with an Ensoniq DP4 parallel effects processor In a til configuration mode. See accompanying documentation for specific description of parameter effects.

0

0

0

0

0

0 r0

click here to start or stop

f~ ] (patcher valr"

n EEHEZn

• | patcher var.S

•

Patcher var.l:

• A: EQ -

BeFUNQER

C: PITCH

OPANNER

• n •

• • n ESEEi^Esil]

n

fTfTiiTTlftTTi

I H B 3 S «2000 than

lvi

P a t c h e r v a r . 2

B A; PFTCH SHFTER

BTTNVERSE EKWGBT

C: PHASER DCL

DRPANNER

• U O U I

• IPMCHF U I

n •

• •

M l H i I l l O l

!•? 111,! ' I M

I

P a t c h e r v a r . 3

B A: PITCH SHFTBL

B: PITCH SHFTER

C: PITCH SHFTER

0: PITCH

• I P * * * * * " » I

• I U U U R I

a IWTCU F>kd.UN<i |

• R I F I N I I R N I

n

! -Jtf $11 —

55000 THEN A J

P a t c h e r v a r . 4 ;

B

B * VOICE CHORUS

CM VOICE CHORUS

D: PARAMETRIC

R

^rrmiTrm

KRR,T!W?R»

L 50000 M N H D

l v i i

Patcher var. 5:

B A: BQ-

BJEQ TUB DDL

C: SMALL ROOM

D: 6 VOICE

• UUfliw I

n raa—«a—ri ipj jCTwrpronojnaj

• • •

m ^ i T T i i r r B

r r F ^ n i

•

L msnsn

Patcher var. 6

B A.FUMO0I

B:EQ-FIANGER-o a

C: FITCH.

DC INVERSE

• iPrtoiw | " 3

n

r r F . i u i i i T *

F r E i T T T M

— P W W W

|rtr ]7 »BS[K5Ll

Patcher var. 7

A: BO-

OS VOICE CHORUB

C: HALL

D: VCF -

n

n I2552S3 •

ESEESEEEEl n

O EEE3E3

• bUmJU I

O GEE525E3

•

Iviii

Paccner var. 8:

H • 1

APARAMETWC

C: PARA-MET11CEQ

De SPEAKER CABINET

t -I if it — :

n

• • ! vVliTTMkiJi

FTFJWTM

11

(The following patchers belong within patcher var.l only -- successive variation patchers are similar)

Patcher three:

fnnTTMiri JKKBmTuiS

tn Ml ngiii vn

J

attribution

Patcher four:

% THSP IranJom m\ I

iMnbdi * 0.S« 55.450001

LLi 'IIIAIMI'A ATIkill)]

lix

Patcher pitchbend:

Patcher modwheel:

10.

wrm

dtotritoutloii

Patcher five: of all valuM

110

r7^-m' >0.021

Votarl Una

cnacnERiflm

lx

Patcher six:

Patcher volume:

Patcher panner:

Eiill'Il distribution batwatn -50 and +50

r*3n vo2«IM

J Imp 1 h S S C I

£ ISBSnSBFTBTI oontroM random

M m Br w M l m

NoMt /\

T L Eft 1 W M 1

• fanosof 0-2000 and a stop valua of 0-M

lxi

APPENDIX B

Ensoniq DP4 effects settings

lxii

v a r . 1:

A B c D EQ - Compressor Flaagcr Pitch Shifter-DDL KJ-Paona-DDL

01 MIX 01 MIX 01 MIX 01 MIX 02 Volume 02 Volume 02 Volume 02 Volume 03 Compressor Gain 03 LFOxate 03 Vcl FtfiShft 03 Panne x Rate 04 Comp. Ratio 04 LFOvidth 04 VclPdiShftFine 04 Pannex Width. 05 Threshold 05 Flange Centex 05 VdPchShftLvl 05 L/RLFO 06 Gaia Change 06 Flange Regen 06 VdPdkShftPan 06 Pan Samp dt Hold 07 CocrpAttack 07 Modi SxaPchBnd 07 Vc2PdiShft 07 Pannex LDlyTirae 08 CocnpRelease 08 ModlPaxam*03 08 Vc2PdiShftFine 08 Pannex RDlyTime 09 Noise Gate Off 09 Modi Range Min 09 Vc2PchShftLvi 09 Pannex Regen 10 Noise Gate On 10 Modi Range Max 10 Vc2 PdiShftPan 10 PanLEdio Time 11 Gate Release Time 11 Mod2 SxcaModtarl 11 PchShftDxyDDL 11 Pan REcbo Time 12 Bass Center Freq 12 Mod2 Faraocws04 12 PchShftLftTirae 12 Pannex Echo LvL 13 EQ Gain 13 Mod2 Range Min 13 PchShftRt Time 13 Bass Cent fxeq. 14 Treb. Centex Fxeq 14 Mod2 Range Max 14 PchShftDlyMix 14 Bass EQ Gain 15 EQ Gain 15 P&ShftDty-Regn 15 Txdb. Cent fxeq. 16 EQ Input Ivl. trim 16 Modi Sxc»MIDI5 16 Txeb. EQ Gam 17 ModlSxc»MIDI3 17 Modi Paxamp04 17 EQ In LvL trim 18 Modi Faratifc3l2 18 Modi Range Min 18 Modi Sxcmolume 19 Modi Range Min 19 Modi Range Max 19 Modi Paxam?03 20 Modi Range Max 20 Mod2Sxc*MIDI6 20 Modi Range Min 21 Mod2 Sic=MIDI4 21 Mod2Parara?=08 21 Modi Range Max 22 Mod2 Faxamffl4 22 Mod2 Range Mm 22 Mod2 Sxc« pannex 23 Mod2 Range Min 23 Mod2 Range Max 23 Mod2 Paxampi09 24 Mod2 Range Max

Mod2 Range Max 24 25

Mod2 Range Min Mod2 Range Max

l x i i i

v a r . 2 :

A B c D Pitch Shift-DDL Inverse Expaader Phaser-DDL EQ-Pacmer-DDL

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SOURCES CONSULTED

Austin, Larry D. Canadian Coastlines. New York: American Composers Alliance, 1981.

Austin, Larry, and Thomas Clark. Learning to Cojnpose. Dubuque, Iowa: William C. Brown, 1989.

Bolognesi, Tommaso. "Automatic Composition: Experiments with Self-Similar Music." Computer Music Journal 7(1) (1983): 25-36.

Brett, Philip. "Homage to Taverner in Byrd's Masses." Early Music (April, 1981): 169—176.

Buck, P.C., E.H. Fellowes, A. Ramsbotham, R.R. Terry, and S.T. Warner, eds. Tudor Church Music. London: Oxford University Press, 1923.

Carter, Elliott. Double Concerto for Harpsichord and Piano. New York: Associated Music Publishers, 1961.

Dodge, Charles and Thomas Jerse. Computer Music: Synthesis, Composition, and Performance. New York: Schirmer Books, 1985.

Dodge, Charles. "Profile: A Musical Fractal," Computer Music Journal 12(3) (Fall, 1988): 10—14.

Doe, Paul. "The Emergence of the In Nomine: Some Notes and Queries on the Work of Tudor Church Musicians," chap, in Modern Musical Scholarship. Boston: Oriel, 1980.

Fellowes, E.H. The Collected Vocal Works of William Byrd. London: Stainer and Bell, 1937.

lxxi

Hiller, Lejaren. Experimental Music. New York: McGraw-Hill, 1959.

. "Composing with Computers: A Progress Report' Computer Music Journal 5(4) (Winter, 1981): 7—16.

Jones, Kevin. "Compositional Applications of Stochastic Processes," Computer Music Journal 5(2) (Summer, 1981) : 45-61.

Lippe, Cort. Music for Sextet and ISPW. Centaur Records, CDCM Computer Music Series, vol. 21, 1994.

Karplus, Kevin and Alex Strong. "Digital Synthesis of Plucked-String and Drum Timbres," Computer Music Journal 7(2) (1983): 424-431.

Mandelbrot, Benoit. The Fractal Geometry of Nature. San Francisco: Freeman and Co., 1982.

Moore, F. Richard. Elements of Computer Music. New York: Prentice-Hall, 1990.

Puckette, Miller, and David Zicarelli. MAX: an interactive graphical programming interface. IRCAM/Opcode Systems, 1991.

Randel, Don Michael, ed. The New Harvard Dictionary of Music. Cambridge: Harvard University Press, Belknap Press, 1986.

Rowe, Robert. Interactive Music Systems. Cambridge: MIT Press, 1994.

Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. New York: MacMillan, 1980. S.v. "Taverner," by Roger Bowers and Paul Doe.

.. The New Grove Dictionary of Music and Musicians. New York: MacMillan, 1980. S.v. "Tye, by Paul Doe.

lxxii

The New Grove Dictionary of Music and Musicians. New York: MacMillan, 1980. S.v. "In nomine," by Warwick Edwards.

.. The New Grove Dictionary of Music and Musicians. New York: MacMillan, 1980. S.v. "Change ringing," by Wilfrid G. Wilson.

. The New Grove Dictionary of Music and Musicians. New York: MacMillan, 1980. S.v. "Byrd,* by Joseph Kerman.

Voss, R.F. "Fractals in Nature: from Characterization to Simulation," H.O. Peitgen, and Dietmar Saupe, eds., The Science of Fractal Images. Berlin: Springer-Verlag, 1988.

Voss, R.F., and J. Clarke. "1/f Noise in Music: Music from 1If Noise," Journal of the Acoustical Society of America 63 (1983): 258-263.

Waschka, Rodney II. Let Me Make It Simple For You. D.M.A. diss.. University of North Texas, 1990.

Weidner, Robert W., ed. Christopher Tye: The Instrumental Music. New Haven, Conn.: A-R Editions, Inc., 1967.

. "The Early In Nomine: A Genesis of Chamber Music." Ph.D. diss., Eastman School of Music, 1961.

. "The Instrumental Music of Christopher Tye, Journal of the American Musicological Society 17 (3) : 363-370.

Wilson, Wilfrid G. Change ringing. New York: October House, 1965.

lxxiii

Winkler, Todd. 'Interactive Signal Processing for Acoustic Instruments.* In Proceedings of the International Computer Music Conference. Montreal International Computer Music Association, 1991, 545-548.

lxxiv

Tim Crowley

In Nomine Domini 1995

Tim Crowley

In Nomine Domini 1995

for horn and piano soloists and two chamber orchestras

I. Taverner Theme Variation 1 Variation 2 Variation 3 (perpetuum mobile) Variation 4 (chorale) Coda

II. Byrd Variation 5 Variation 6 Variation 7

III. Tye Variation 8 (canon)

Duration: approximately 18 minutes

Dedicated to Ann Dillow Crowley

© Copyright 1995 by Tim Crowley All rights reserved.

Performance Notes:

1) Accidentals apply throughout the measure.

2) The piano lid must be removed to allow eye contact between performers and conductor.

3) In Nomine Domini requires an electronics engineer and extensive technical preparations. Please allow at least six hours of preparation time prior to a performance.

4) Performance of this work requires an Ensoniq DP4 parallel effects processor, a sixteen-channel mixer with four output busses and two auxiliary effect sends, four dynamic microphones with cardioid amplitude response, three condensor microphones with omnidirectional amplitude response, two boundary (PZM) microphones, a control-voltage pedal, a Macintosh with 8 MB of RAM running system 7.1 and MAX2.2* interactive programming environment, MIDI interface, MIDI and 1/4" cables, two amplifiers, and four high-quality speakers (at least 500 watts/channel and 35-18,000 Hz frequency response). Additional sound reinforcement gear is recommended (e.g., equalizers, compressor/limiters, and gates). The four speakers should be in a direct line with each other (see diagram) and should be at least 60" high, so that the signal will be placed above the audience's ears.

5) A small arrow pointing to a text decription in the center portion of the score such as "(MAX: VAR. 2]" indicates to the engineer to advance the Ensoniq DP4 signal processor by one program with the control-voltage foot pedal and to engage the corresponding MAX patch.

6) The score is divided into two orchestras, labeled "A" and "B", and all pertinent conductor's information is printed above both orchestras. Each orchestra is arranged in traditional score order, with the soloists appearing above the strings.

7) SPATIAL ARRANGEMENT: the placement of both orchestras, conductor, engineer with all electronic equipment, speakers, soloists, and audience is crucial to a proper performance of In Nomine Domini. Two arrangements are proposed in the following pages: 1) for a standard "proscenium-arch" stage, and 2) for a square "box" theater. Optimal audience listening location is the primary goal; all other performance factors are secondary.

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Ci*.(B.CL)inBb

am

Tiim

P§m. $

Pms. 4

«ti*M

m.

Q*Bq

•) ^ T

T — j

1 fet

wf

hy> — H • *

if — ni = r

r jjM

•HI 1 I' -— *J 1

Fjr'rTTT.: \ r: ; , fFn

4, *— f» " !

1

I |J ~~ k -j * i ' 1

4 - — I - — = M • . L 1 [J. | • — *' v I

i • 1 f •••• •• ' "#SSS

rg. «*'

m

J p . ptiz ± Lgtfer |.

MOO

V#

moo s j

m

J ./fa --n~T

-14-

In Nomine Domini - Tavemer

Pmc.2

m

PUC.3

Pmo.4

a*r.(B.Cl)inBb

-15-

in Nmwm Doom - Tmmmm

FlfPbeJ

EM

TptktC

Tbn,

HthkiF

Chr.(B.CL)mBb

B Pma $

Pms. 4

- H •% 1 s " = i 4 i , L - v ^ j

l h> i t#- • i w ^ ±

siildj

• ie-

In Nomine Domini - Tmmmer

FL(PkK)

EH.

TptinC

Tbn

Pmo.1

Pmc. 2

Hn. in F

Vkt.

Ob.

Clar. (B. CI) in Bb

Bmt

Tub*

Putt. 9

PfC. 4

Piano*

Vln.

Mo

i r

JP 1 - —

f

• • 1

r r r =

• — i " —

« • = = * , 1 I ,

$ — - _ j — —

• 4 ^ ' • > " I f d

k J r — n ^

• M l H f u f ' 1 J 1 / H 1 K 1 —

T j / H J " ' j T j T l

I D

k | j j w r T j [ ^ = j

ii—

n i ' i j I f = v i , =

- L _ J

" r i * j ^

rf" 1 1—1 1 I i

1

g j £

4

fr E E E E E E E

, i

* ^

p — 2~

P

1 1 =

^ •?— =

* 1 F i 7 * 7

1 7 -

in Nomrm Domini - Tmmmr

PI (Pica)

EM

TptinC

fba

Pms. 1

PW&2

Hn.hF

Vk,.

B

Oh.

Cktr. (B. Ct) in Bb

3m

mm

Pme. $

Pme. 4

m

GsJb

- - jt~ "•#'

I • =

| J ~ * = —

J . • E

ir =; H E T

I J

» » * * s M f i 2 C 3 j ' l r i ' J • i ' J .J-

$ * 7 j* U' w * .

• 1 8 -

In Nomine Domini - Taverner

Ft (Pico.)

TpthC

Pmc. 1

Pma.2

HftinF

Our. (R CI) in Bb

Pmv. 3

Pma 4

Pkrno

hokt until downbeat)

Cmto

- 19-

in Nomine Domini - Taverner

D VARIATION 3 J -113 (pmrpatuum mdhM)

B

FUMq (Piccolo)

EngSahHom

Trumpet mC

Tmmborm

PmHMskm 1

P&rousskm2

Hom'mP

Vioia

String Bam

(mq preface diagram for Instrument mmgfwmtta)

D Oboe

Clar. (B. CI.) m Bb

Bassoon

Tuba

Percussion 3

Percussion 4

Piano i

Vtofm

CmHo

[¥AR, 3)

I

—

0 U " ' mm - -

J = i yi^et (motor on skm)

Imodium matfets)^

^ , _ f l _ „

I ft 4

' - =—

• 2 0 -

In Nomine Domini - Taverner

Fi. (Pioc.)

EH.

Tpt. in C

Tb/x

Pa/c. 1

Pwc. 2

Hn.kiF

Via.

Bass

Ob.

(cup mute)

Clar. (B. CI.) in Bb

Ban.

3 Tuba

Pare. 3

Pans. 4

Piano <

Vki.

Catb

i . = = j

$ eeeeeee

V i — •I = = — | j

_ A

i •- i Vs f f f f «P f: ^ jt

# j

i =

• p p , u

- 2 1 -

in Nomine Domini - Tavemer

FL (Pico.}

Tpt,mG

Pam* 1

Pmv.2

Hn.mF

Bass

Ciar. (B. Ci) in Bb

Ban.

B Tuba

Pwv.3

Pare. 4

Piano

Celb

• 2 2 -

In Nomine Domini - Taverner

FL (Pbc.)

Tpt. mC

Pare. 1

Pom. 2

Hn.mF

Bass

Clar. (B. Ci.) in Bb

Perc. 3

Pom. 4

Piano

CoUo

-23-

In Nomm Damn - Tsmmer

FL (Pico.)

EM

Tpt. in C

PWG. 1

Pwc.2

Hn. in F

Bass

Clar. (B. CI.) in Bb

B Tuba

PWG. 3

Pare, 4

Piano

CaUo

- 2 4 -

In Nomine Domini - Taverner

FL (Phc.)

Tpt.inC

(soft mam)

Paw. 1

Pare. 2

Hn. ktF

Ob.

Clar. (B. CQinBb

Ban.

Tuba

Pom. 3

Pare. 4

Piano i

Vfo.

CaMo

J ~ 1 1 1 1 ft U J - f • | j W i f

*

/

J ~ 1 1 1 1 ft U J - f

» * J

/

"a*.

-4 =

rZ 1 > -

> ^ ^

$ =

-25-

In Nomine Domini - Tavemer

PL (Pioc.)

TpL'mC

Pern. 1

P®m, 2

Hn. in F

Clar. (B. CL) in Bb

B

(mrmon mute - stem m)

fmmmaNeto)

Pare. 3

Pare. 4

Piano

CeHo

- 2 6 -

In Nomine Domini - Taverner

FL (Pioc.)

Tpt. in C

Pens. 1

Pwv. 2

Hn.inF

Clar, (B. CI.) in Bb

(medium mums)

Pete. 3

Pore. 4

Piano

•27 -

In Nomine Domini - Trnmrmr

Fl (Pioc.)

TptinG

Pom. I

Pma 2

Hn.'mF

Clar. (B. CI) in Bb

B Pw&3

Pwv. 4

Pmm<

• 2 8 -

In Nomine Domini - Tavemer

Fl (Picc.)

EH.

Tpt.inC

Tbn.

Pare. 1

Pare. 2

Hn. mF

Vk.

Bass

Ob.

(cup mut$)

Clar. (B. CI) in Bb

Bsn

Tuba

Pert. 3

Pore. 4

Piano

Vfn.

CaHo

$

(medium mallets)

• 2 9 -

in Nomine Domini - Tavemer

FL (Pioc.)

EM

Tpt,mC

Tim.

Pom. 1

Pern. 2

Hn. inF

m.

B

Ob.

Clar. (B. Ct.) in Bb

8m

Tuba

Pmc, 3

Pom. 4

Piano<

Vkt.

CeMo

(soft maHats)

I

i i 'i—i

mmrimbm(!rwdkjm matiam)

¥

-30-

In Nomine Domini - Tavemer

Fl (Pioc.)

EH.

Tpt. in C

Pore. 1

Pore. 2

Hn. in F

Bass

Clar. (B. CI) in Bb

Bsn.

marimba (hard matots)

Tuba

Pare. 3

Pore. 4

Piano

CBHO

• 3 1

in Nomine Domini - Jammer

FL (Pioc.)

T p t m C

P w ® . 1

Pw®, 2

Hn. inF

B

Oh.

Clar. (B. Ct) in Bb

B m

Tubs

P&&3

Pmm.. 4

P m m i

Vh.

Cmtio

w

p

•i = — — -

— l — pi I =H _$ \i • j—I pi I =H _$ — — « = = = ff

§

l - ,

LZ1 _ ~

32-

In Nomine Domini - Taverner

FL (Phc.)

EM

Tpt.inC

Tbfi

Pare. 1

Pare. 2

Hn.'mF

Vto.

Bass

War. (B. CI.) in Bb

* Pore. 3

Pore. 4

Piano

ft

Hp i = j - =

ft =

/hanafmalefej _

JJJ=\ FTR-i» i ^ T j T a J J s p • • J .TJ ^ r r r r y • J £

n i -1 v

C "7 7 ; V J t ^

-33-

In Nomine Domini - Tawmer

FL (Phc.)

Tpt.bC

B

Pwa 1

Pete. 2

Hn.mF

Clar. (B. CL) in Bb

ntartMwia

2 m *"•*

i

P»rc. 3

Pem. 4

Piano •

• 3 4 *

In Nomine Domini - Tavemer

(2 + 3«fmpm)

E V + 3 9*mpm) Q S ] VARIATION 4 J . a s p > « * ; FkMfPfooob)

rnriiih llnrw CryHrv FWin

Trump* in C

Trombom

Ptoumhn 1

Pmvussion2

HommF

Mote

String Bass

F

Oboe

Osr.(B.CL)inBb

3 Tuba

PmvtmionS

Pmoumbn4

Pmno*

Violin

CsBo

p^MAX:[VAR.4]

*

1

l r i

1 1 1

P

' 3 ' *

U - =

fkuMndo

- 3 5 -

9

in Nomine Domini - Tavemer

PL (Pioe.)

Tpt. in C

Pere. 1

Pmm.2

Hn. in F

Civ. (ft CI.) in 8b

B

nautando

J J J j j j

Pom. 3

Pwu. 4

Piano

• 3 6 -

In Nomine Domini - Taverner

FL (Pbc.)

Tpt.inC

Pure. 1

Pwc. 2

Hn.inF

Clar. (B. CI) in Bb

5 Pwc. 3

Pwc. 4

Piano

-37-

In Nomine Domini - Taverner

PL (Pksc.)

EM.

Tpt. in C

7M

Pem. 1

Pom. 2

Hn.'mF

Bam

Clar. (B. CI.) in 8b

B Pore. 3

Pom, 4

Piano

-38-

In Nomine Domini - Tavermr

Q p^[ CODA (on •Domini") J - so

FkM(Pfoook>)

Jr.*. « I , , , „

rforn

riunvMtiriC

Horn in F

Vbkt

String Bmm

Obo*

o»'.(B.a;inab

Vfotb

G*J»

fieel MAXOFF t ALLMtCS DRY

II /»-

; *

!

o = = = = = \—\ — = =

r i n ( n

H I t J J — • ? j p J 5 j ' ' i i + t i r c r j

j r - a jn 1 / J i n r j v * ""

mmpmkto

if 1 = r - r r i M

1 ' ' " f r '

J i r J

V W j i — - : • -

-39 -

In Nomine Domini - Tmmrmr

PL (Pksc.)

EM

Tpt. in C

Tim,

Pms. 1

Pmv,2

Hn.'mF

¥k.

B

Oh.

Cfar. (B. CL) in Bb

6m

Tuba

Pwa 3

Pwe. 4

Pmnoi

Vh.

Celte

= = — - : = - ~ - . ' 1 " w — Z Z =

1 — = ~ =a _ B

IT — 41 —

F f P

^ _ -p + _ _ | W — — — — — P

^ _ -p + _ _ |

-H —= = = = = = = = = = = = = =

m - _ = = = 1 3 = = =

= = = = = =

H i - = - l~--— —

i n Hi n, . , .

n !'L J pnn n p a If n ^ H * r i xJ •^JJW

1 1 r ~ W~r f—-- t -

' '

J

• 40*

In Nomine Domini - Taverner

Q H 1

Ft. (Pioc.)

E.H.

Tpt. m C

Tbn.

Pare. 1

Perc. 2

Hn.'mF

Vht.

Bass

Ob.

Clar. (B. CI.) in Bb

Bsn.

Tuba

Pare. 3

Pare. 4

Piano i

Vki.

Cam

- -

+ ft

P mp P

P n i ]

j < B r r - l r r * 1 1 1 1 V fl f f l m l = . H Jgl ^

, „ , n j , j > J 7 a

U l ! —

J — 1 Js r j a

* J J — * —

j .

- J p — U g j f

i .h

— — — F t J ~

J J

' L r r r

4 = — =

' p k U f f J r P r f r - -

• 4 1

in Nomine Domini - Tavemer

ritardando

FL (Pice.)

EM

Tpt. in C

Tim,

Pare. 1

Perc. 2

Hn. mF

'm.

Bass

f . - r - ~ |

+ similQ

f

rt\

n f

rt\

n

f l 8 3 | ritardando .

Clar. (B. CL) inBb

B Tukm

Pem. 3

P»rc. 4

Piano

Geib

• 4 2 -

II. Byrd

V A R I A T I O N S J . - 7 2 Fiuts (Piccolo)

English Horn

Trumpet in C

Trombone

Percussion 1

Percussion 2

Horn in F

String Bass

Clar. (B. CL) in Bb

Bassoon

p (harmon mute)

ALL MICS ON j-t»MAX'[VAR.5]

ba*« clarinet

Percussion 3

Percussion 4

Piano

-43-

In Nomine Domini - Byrd

Fl. (Pioc.)

EH.

Tpt m C

Tba

Pore. 1

P&rc. 2

Hn.mF

Yk,

Clar. (B. CL) in Bb

B Pore. 3

>*. >

>*.

mm$Z m

F d s f f

mm$Z m

F d s f f

Pore. 4

Piano

CoHo

In Nomine Domini - Byrd

D 3

Ft. (Pkx.)

EM

Tpt in C

Tbn.

Pare. 1

Pore. 2

Hn.inF

Via.

Ciar. (B. CI.) in Bb

Pore. 3

Pore. 4

Piano

I $ = A 1 h H h i b 7 il 7 i* * = > - > - » - »• >» » -

+ (opan)

f

^ ' f «/•

'f - i !•

— f paz. •

M r t • =

i f

'f - i !•

pizz-

m * — — p - m — 1 — 8 —

C*!k>

45-

In Nomine Domini - Byrd

piccolo

B

ft (Picc.}

EH.

TpL in C

Tbn,

Pore. 1

Perc. 2

Hn. mF

m.

Oh,.

Clar. (B. CL) in Bb

Ssa

Tub*

Pmm. 3

Pern, 4

Pmmi

Vh.

Cetb

• - - • - • T

— — =

P

sc sc p

' -• ..J..- " ^

— r. : ' z = z = = =

| • r T = = = r = 2 E = =

If"7""3 — = — - — —

+ ^

& (skn.)

' 4 . . . J

L J i > ) j i ' 1

D D

» >*»

Z f l

r~& 5=

p

»• >. S»"

4 H * —=

f E P = — 1 28»-

" y r j i 7 " - - - - - - - - - = F = —

mnmpedafa 1 — - 1

^ 3 = = = = =

bi::::,!:1,!;:,:::;!1; 1 — — 1 ' — ~ — —

- 46 -

In Nomine Domini - Byrd

GEL Ft (Picc.)

EM

Tpt. in C

Tbn.

Pore. 1

Pore. 2

Hn.mF

Via.

Bass

Clar. (B. CQinBb

Tuba

Pore. 3

Pore. 4

Piano

¥ * ' M =

- f r - T K 1 K— k , K > -frfr J> i ==^=

I

1 I' 1 J' i " » •

>» » - >- 3»-

^ = =»-

M - - f

Tftp

•

-

CoHo

• 4 7 -

In Nomine Domini - Byrd

Ft. (Phc.)

Tpt in C

PBW, 1

Pore. 2

Hn. in F

Clar. (B. CL) m 8b

B

(mute out)

P»m, 3

Pw& 4

Pmno

CsHo

»48*

In Nomine Domini - Byrd

FL (Pioc.)

EH,

Tpt m C

Tbn.

Pent. 1

Pore. 2

Hn.'tnF

Via.

Ob.

Clar. (B. Cf.) In Bb

Tuba

Pare. 3

Pore. 4

Piano i

Vkt.

CaHo

Vg? * — 1 '

5»- *>•

> -

> • * •

— - -SS.

s= >•— -

*»•

'S-

> -

• ^

- f - -- p=a . a; -T "1 >" ' » ' m • »

> * >•*

§ = < i J *

/ 3

m [. i i h i

H I > • > • t>r, — - 3*

»•

•

' ^ j y * —

ii>- Jf"*"

> -

ifl , 1 , fr —

> •

8vb * . 1 J — - — f e ! — ^ _ = — ^ —

- 4 9 -

In Nomine Domini - Byrd

Ft. (Picc.)

B

Tpt. in C

Pare. 1

Pern. 2

Hn. in F

Ctar. (B. CL) in Bb

gortgi is mssp, eymM (soft m&ttats)

mp tempi* Mocks

Perc. 3

Psrc. 4

Piano

CBHO

- 5 0 -

in Nomine Domini - Byrd

FL (Picc.)

TpfmC

Pore. 1

Perc. 2

Hn. in F

Bass

Ciar. (B. CL) m Bb

$

Tf

Perc. 3

Peru. 4

Piano

CsHo

• 5 1

in Nomine Domini - Byrd

FL (Picc.)

Tpt in C

A Perc. I

Pare. 2

Hn. m F

Ciar.fB. CI.) m Bb

B Pens. 3

Pern. 4

Pmno

GeHo

5 2 -

In Nomine Domini - Byrd

Ft. (Picc.)

Tpt. in C

Pore. 1

Pore. 2

Hn. mF

Ctar. (B. Cf.) in Bb

Cj'LLl

Pore. 3

Pore. 4

Piano

OoHo

5 3 -

In Nomine Domini - Byrd

Fl (Picc.)

Tpt m C

Perc. i

Perc. 2

Hn. in F

dm (B. CI.) in

B

(rmnnon mMm

Pare. 3

Pare. 4

Piano

• 5 4 -

In Nomine Domini - Byrd

Ft. (Picc.)

Tpt. In C

Pare. 1

P&rc. 2

Hn. in F

Clar. (B. CI.) in Bb

Pare. 3

Pare. 4

Piano

C*Uo

55-

In Nomine Domini - Byrd

Fl, (Pioc.)

EM

Tpt m C

Tbn.

B

Perc. 2

Hn. in F

Via.

Ob.

Oar. (B. CL) m Bb

Bm.

Tuba

Pew, 3

Pern. 4

Piano <

Vh.

CuHo

f f

(am.)

ij' 1 j'j" w

N — i i —

>» iii '" -'S:1""*"11 r — ™ 3 r * — — -j

9 * : 1 ~ = = 3 = = r - r — T - T - Z : : . - 1

i 1 . f- . L f ^ f ^ ^ ^ y wi ^ if—C—eX—V f i1 j T ^ * 1

j. = —5= ' | » -

»/

aEKffiSBj J "

mnm p&d&te

11 ^ ~ 1 ^ —f "y ~j • 5 6 -

In Nomine Domini - Byrd

S= S*

V ^ > h

> -

> -

» * >* >* a*.

» >-

• * * * " "~r ""T w 1 • f W * y ^

(open)

—

FL (Picc.)

EM

Tpt. in 0

Tbn.

Pare. 1

Pare. 2

Hn. in F

Via.

Ciar. (B. CI.) in Bb

Bsn.

Tuba

Pore. 3

Pore. 4

Piano i

CeOo

- 5 7 -

in Nomine Domini - Byrd

PL (P 'KC.)

Tpt, m C

Pern, 1

Pare. 2

Hn. mP

Clar. (B. CI.) in Bb

B Pore. 3

Pew. 4

Piano

CeHo

• 58 -

in Nomine Domini - Byrd

[ j ] [ 7 4 ] V A R I A T I O N 6 J . 126

Flute (Picccb)

English Horn

Trumpet in C

Trombone

Percussion 1

Percussion 2

Horn in F

String Bass

Clar, (B. Ci.) in Bb

Bassoon

Percussion 3

Percussion 4

[ 7 4 ] ( - * M A X : [VAR.6J

(hard mallets)

f sempre

eh in iM

j sempre

- 5 9 -

in Nomine Domini - Byrd

Fl. (Pica.)

EH,

Tpt. mC

Tbn.

Perc. 1

Pen:. 2

Hn. in F

Ba&$

dm. (8. Ci) in Bb

Ben.

B Tuba

Peru. 3

Perc. 4

Piano

1 — p =

- - f —

Alternate ad. Ob. between open and

k stopped

"52: ™ " "

f mmpm

7 £ — ^JL1—^

Alternate ad. lb. between aroo •

andpizz

fmmpm

• *}i \ — - f"-» —*——

f mmpm

p

f mmpm

mnm pmm

f aemprm Alternate ad. Mb. between aroo

and pirn

f mmpm

Celb

in Nomine Domini - Byrd

Ft (Picc.)

Tpt. in C

Pore. 1

Pare. 2

Hn, in F

Bass

Ciar. (B. CI) in

Pom, 3

Perc. 4

Piano

Ceito

• 6 1 -

In Nomine Domini - Byrd

Ft (Pice.)

TptmC

Pore. 1

Pore. 2

Hn. in F

Clar. (B. Cf.) m

B Pom. 3

Pore. 4

Piano

6 2 -

In Nomine Domini - Qyrd

FL (Picc.)

Tpt. in C

Perc. 1

Pore. 2

Hn. in F

Clar. (B. CL) in Bb

Pare. 3

P&rc. 4

Piano

- 6 3 -

in Nomine Domini - Byrd

PL (Pbc.)

TpL in C

Pare. f

Paw, 2

Hn. mF

Bass

Clar. (B. CL) in Bb

Bm

B Tuba

PBTC. 3

Para 4

Piano

Cello

- 64 -

In Nomine Domini - Byrd

FL (Pica)

Tpt in C

Perc. 1

Pare. 2

Hn.mF

Bass

Clar. (B. Ct.) in Bb

Bsn.

fsampra

Jsampra

f sempm fsampra

Tuba

Pate. 3

Pare. 4

Piano

Catto

- 6 5 -

In Nomine Domini - Qyrd

FL (Pico.)

EM

Tpt. in C

Tbn.

Pare. 1

PBTC.2

Hn. in F

Vk,

B

Ob.

Clar. (B. CI.) in Bb

Bsn.

Tuba

Pare. 3

Pare. 4

Cello

41 " v 1 |

\i - =

b M i M >, _

*1P~" > -

rr

m ~

U i > * » —

» ^ *

M 1 r 1 1

i - =

j i j *' j ; rT~^i = | T J t j„L_zEE

^ =

\£— - = § =

6 6 -

In Nomine Domini - Qyrd

Q u \

Fi. (Pice.)

EM

Tpt. in C

Tbn.

Perc, 1

Perc. 2

Hn. in F

Via.

Ob.

Clar. (B. Ct.) in Bb

Tuba

Perc. 3

Perc. 4

Piano *

Vtn.

Cello

- 6 7 -

In Nomina Domini - Byrd

DH] FL (Pice.)

EM

Tpt in C

Tbn

Pare. I

Pore. 2

Hn. in F

Via.

B

Ob.

Clar. (B. CI.) in Bb

Ban.

Tuba

Pore. 3

Perc. 4

Piano <

vm.

Cello

HM—7 f f T i i

J t=frF= $ -LijSE f —

ri - — - =

Hial U - = I

i - EEE

—~-~--0is3r+----^ —•

kJ>* " j

===ZZZ==Z±=R O=

J - T J J T T T "

3*

ly. f r f = - r« -trrTT'-'-^ ^ £s*-

«T ^ 1 1

V 2*

- 6 8 -

In Nomine Domini - Byrd

FL (Picc.)

Tpt. in C

Perc. 1

Pore. 2

Hn.mF

Bass

Clar. (B. CI.) in Bb

m

Pare. 3

Perc. 4

Piano

Cello

- 6 9 -

In Nomine Dorrvru - Byrd

B

Fi (Picc.)

E H

Tpt in C

Tfon.

Pore. 1

Pure. 2

Hn. in F

m.

Ob.

Clar. (ft CI.) in Bb

Bsn.

Tuba

Pare. 4

Piano {

Cello

± - - -$ =

_ z _ _ ^ i | 2 3 z :

VP " > >*

a * .

o n

\ l - = 1 t ! = ^ — 7 « L J 7 -

* • . . t a fb > * 1 _

- j fe - 4? - — - — —

J ^ > -

' ' ; J / " J " i H

> -

? - £

• 7 0 -

In Nomine Domini - Byrd

Ft. (Pico.)

EH.

Tpt. in C

Pern. 1

PQFC. 2

Hn. in F

Bass

Ciar. (B. CI.) in Bb

Tuba

Pare. 3

Perc. 4

Piano

Cstlo

-71 -

In Nomine Domini - Byrd

Fl. (.PfCG,)

Tpt in C

Perc. 1

Pare. 2

Hn. in F

Bass

Ciar. (B. CI.) in Bb

Bsn.

B Tuba

Perc. 3

Pore. 4

Piano

- 72 •

In Nomine Domini - Byrd

f u * 1 FL (Pica)

EM

Tpt. in C

Tbn.

Perc. 1

Pore. 2

Hn. in F

Via.

Ob.

Cfar. (B. Ci.)mBb

Bsn.

Tuba

Perc. 3

Pore. 4

Piano*

Vln.

Cello

1 - = > -

^ 1

Ttfj_ J

^ > 3

3*-

>

>

- i i > r f r

> -

; r r r-ft " * f ^

t i i—t—j

f I I I —

—| 1 ,

r • | h-

1 ^ §)iJ J i i * =

i. - =

r * " iiji t j J r tJ r J

ft ^

i. - = ft ^

7 3 -

in Nomine Domtni - Byrd

K PL (Pico,)

EM.

Tpl m C

Tbn.

Pare. I

Perc. 2

Hn. in F

Vk.

K

B

Ob.

Clar. (B. CI) in Bb

Bsn.

ma

Pom, 3

Perc. 4

Vb.

Cello

mm

m

, 74-

In Nomine Domini - Byrd

Ft. (Pico.)

B.H.

Tpt. in C

Tbn.

Pare. 1

Pare. 2

Hn.inF

Via.

Bass

Ob.

Clar. (B. CL) in Bb

Bsn.

Tuba

Ports. 3

Perc. 4

Piano <

Vkt.

Cello

1 " =

H5

4 " E

fi54l

^ *

fl |

iu 1

>*

*

> | 1

a*- 3S- ^ >•

> *

- 7 5 -

in Nomine Domini - Byrd

FL (Picc.)

Tpt. in C

Perc. 1

Pore. 2

Hn. in F

Clar. (B. CI.) in Bb

B Perc. 3

Perc. 4

Piano

76-

In Nomine Domini - Byrd

RmI attacca

Fi. (Picc.)

EH,

Tpt in C

Tbn.

Pore. 1

Pare. 2

Hn. in F

Via.

Bass

Ob.

Clar. (B. CI.) in Bb

Bsn.

Tuba

Pore, 3

Perc. 4

Piano i

VJn.

Cello

I

I "t?

A JS!

-i = 4 = =

fie*l I - |

J J§1

J§!

:»*

0 0 <• ^ f*

I - ;

1 ^ J J E

2 - f

> „ i z .i-l— t h 1 , J f ^ fc? * k r »• Itf* i T f

=

U — - — -

attacca

- 7 7 -

In Nomine Domnt - Byrd

[ L | Hto] VARIATION 7 J.-72

FhAe (Piccolo)

English Horn

Trumpet in C

Trombone

Percussion I

Percussion 2

Horn mF

String Bass

Clar. (B. CI) in Bb

B Percussion 3

Percussion 4

piccolo

mmpm

mp mmpm (harmon)

mp mmpm (cup mute)

mp mmpm

f$wp mmpm 1701 p MAX: [VAm.TJ

mp sempm

mpmmpm vlb®s (motor on - fast)

mp mmpm pedale mmpm marimba

(soft mallets)

mp sempm

arm

mp sempm

mp mmpre

-78-

in Nomine Domini - Byrd

Ft (Pico.)

TpLinC

PBTG. 1

Pare. 2

Hn.inF

Bass

Clar. (B. CI.) in Bb

Psro. 3

Perc. 4

Piano A

Cello

- 7 9 -

In Nomine Domini - Byrd

B

Pi (Pirn.)

EM.

Tpt in C

Tbn.

PBTC. 1

Pare. 2

Hn. m F

m.

Bass

Ob,,

Clar. (B. CI.) in Bb

Ssft

Tuba

Pare. 3

Pare. 4

Piano*

Vh.

Collo

+ (opm)

f Escxa

wf — — — ^ — f MP — . Wf

Da

— _

«/ >. >- a y~

SvbJtL ^ p

/ : I »*

£ E

/ : I »*

£ E

- 8 0 -

In Nomine Domini - Byrd

r«B4i

Ft. (Picc.)

EM

Tpt. HI C

Tbn.

Perc. 1

Pare. 2

Hn. in F

Via,

» - =

+

J I = (sim.)

V V I >•

y - ^

ff ^ L _ J l j

fcj' - ^ 7 j 1

Ob.

Clar. (B. CI.) in Bb

Bsn.

Tuba

Perc. 3

Pore. 4

Piano <

Vln.

Cello

ssnza pod ale

I E

- 8 1 -

In Nomine Domini - Byrd

141 •4

ft " J

1 - = = F

p = :::::

4 (open)

Ft. picc.)

EM

Tpt. m C

Tbn

PBTC. I

Pore. 2

Hn. in F

Via.

B

Ob.

Clar. (B. CL) in Bb

Bsn,

ma

Pare. 3

Perc. 4

Piano >

Ceib

- 82 -

In Nomine Domini - Byrd

Fl (Pkx.)

TptinC

Perc. 1

Pore. 2

Hn. in F

Bass

Clar. (B. CI.) in Bb

Bsn.

Tuba

Perc. 3

Perc. 4

Piano

Cello

- 8 3 -

In Nomine Domini - Byrd

M FL (Picc.)

EM

Tpt. "m C

Tbn,

Pore. 1

Pore. 2

Hn. in F

m.

B

Ob.

Clar. (B. CL) in fife

Ssm

Tuba

Pare. 3

Pare. 4

Piano <

Cfl/fo

J _ n . i r y _ v C r e

f

e

f

- 34 -

In Nomine Domini - Byrd

Fl. (Picc.)

EH.

Tpt in C

Tbn.

Pore. 1

Pore. 2

Hn.'mF

Via.

Ob.

Clar. (B. CI.) in Bb

Bsn.

Tuba

Pare. 3

Pare. 4

Piano

Vln.

tnf

- 8 5 -

In Nomine Domini - Byrd

FL (Picc.)

EM

Tpt in C

Tbn.

Perc. 1

Pore. 2

Hn. in F

m.

B

Ob.

Clan (B. CL) in Bb

Bsn.

Tubs

Pore. 3

Perc. 4

Piano <

Vln.

Cello

' ft - — r i r * f r . s

p

JT

HHf-p p =

- — '" - pp

- 8 6 -

In Nomine Domini - Byrd

FL (Pbc.)

Tpt'mC

Perc. 1

Pore. 2

Hn.inF

Cfar. (9. CI.) in 8b

Perc. 3

Pore. 4

Piano

Cello

- 8 7 -

In Nomine Domim - Byrd

PL (Pice.)

Tpt m C

Perc. 1

Perc. 2

Hn. in F

Bam

Clar. (B. CI.) in Bb

Ban.

B

tempi* blocks

Tuba

Pare. 3

Pore. 4

Cello

- 8 8 -

In Nomine Domini - Byrd

FL (Pice.)

EH.

Tpt.inC

Tbn.

Pare. 1

Perc. 2

Hn. in F

Via.

Ob.

Clan (B. CI.) in Bb

Bsn.

Tuba

Pare. 3

Piano <

Vln.

Colb

a wtf

- 8 9 -

in Nomine Domini - Byrd

Fl (Pica.)

EM

Tpt. inC

Thrt

Perc. 1

Pare, 2

Hn. in F

Ciar. (B. CI.) in Bb

Ben.

B ma

Perc. 3

Perc. 4

W r » .

Cello

#i

(open)

• 9 0 -

In Nomine Domini - 8yrd

Fl (Picc.)

EH.

Tpt. in C

Tbn.

Perc. 1

Paw. 2

Hn. in F

I - =

fl

I - =

snare drum

A / 1 r Hr1

+ + j i EE

(skn.)

r "r i Zmf

| Iff -

•=• y -ff W 3 ^ fe!"' 4' ^

• ft t —

i J 1 * j

VJa.

Ob.

Clar. (B. Ci) in Bb

Tuba

Perc. 3

Perc. 4

Piano <

Vln.

Ceib

senza pedak)

-91 -

in Nomine Domini - Byrd

PL (Pico.)

EM

Tpt. m C

Thn.

Pore. 1

Pare. 2

Hn. m F

B

Ob.

dm. (B. CI) in 8b

Bsn.

Tuba

Perc. 3

Pare. 4

Piano i

Vln.

Celh

«/

«lf

<mf

^ ij1 * i (open)

[233]

-j4f - — if tf 1—

9vb-fL'

vt "ZJJB

e-

- 92 •

In Nomine Domini - Byrd

Ft. (Picc.)

EH.

Tpt.mC

Tbn.

Pare. 1

Pern. 2

Hn.kiF

Vki.

Bass

Ob.

Clar. (B. CL) inBb

Bsn.

Tuba

Pare. 3

Pare. 4

Piano {

V)h.

Celb

& f |*Tf i/ r ' i y A y l i H r * ; l r y . 'Tr y i f f i I t / T T r « v itfitr v * ip"V= t r r 1 1 1 h T l t 7 u ± = = = = = L H - j L y = = i f c - L C J E = u - y j W -

12381 12381

1 PP

*11 • —

\I - = 4 ^ — -I, , », =

1 ?

/ 1 ?

« ' f . J * - T

PP

j i > i - ^ =

I - = ;

fcp B - 1 —

$ = S E E E :

- e — : •

- 9 3 -

N Tye

VARIATION 8 (canon) J » 60

Flute (Piccolo)

English Horn

Trumpet in C

Trombone

Percussion 1

Percussion 2

Horn m F

Viola

String Bass

N

B

Oboe

Clar. (B.Ci) in Bb

Bassoon

Tuba

Percussion 3

Percussion 4

Piano i

Cmib

W • ~ ~

I D ,

1 r, - -—-===

mp

f - > MAX: [VAR.8]

mp

senza pedale

- 94-

In Nomine Domini • Tye

FL (Picc.)

Tpt. in C

Pore, 1

Psrc. 2

Hn.kiF

Clar. (B.Ci.) in Bb

U Wilt f

Pare. 3

Pore. 4

Piano

Cello

- 9 5 -

In Nomine Domini - Tye

0 PL (Pics.)

EH.

Tpt,'mC

Tba

Pare. 1

Pare. 2

Hn. "mF

V f e .

Bam

B

Ob.

Giar, (B.CI.) m 8b

Bstt-

Tuba

Pare. 3

Perc. 4

Piano i

Vh.

Cello

• i L -

0

J? 5 * — ,

H 1 * j ^

«**•

n

- J " - * - - -

mf clarinet

! | )r*r r j f l* r r - ^ p ^

•mf

JJ}

mmtimbm

it r f ' r r r r j

Mf

96-

In Nomine Domini - Tye

GH

FL (Pico.)

EH.

Tpt.mC

Tbn.

Pore. 1

Perc. 2

Hn.'mF

Via.

Bass

Ob.

Ciar. (B.CL) in Bb

Bsn.

Tuba

Perc. 3

Pore. 4

Piano <

VIn.

(cup mute)

mf

- [ » ' M

J J J _

o n

LPttj p — 1 * ^ —

- J #J J J

A

J c y J

J J J ~ 3 / J

if r—i —r < § t n r r Y M Y ' "P u

ti'

i - = ig i

9 * P it. P- : „ n » . > , i If -p5]—p—.—j j c i ' r f ^

j i, i EE

iiJ J | l r i 'iJ r =

j j j - ^

r j f "r J J i

•fy f J it'J

mf

"f f 1 p - fc jp=

mf

- 9 7 -

In Nomine Domini - Tye

PL (Pico.)

B

Tpt ifi C

Pare. 1

Perc. 2

Hn. in F

Clar. (B.Ct.) in Bb

crotates

Pore. 3

Perc. 4

Piano

- 9 8 -

In Nomine Domini - Tye

FL (Picc.)

Tpt. in C

tempi* blocks

Pore. 1

Pe/v. 2

Hn. in F

Ob.

Clar. (B.CL) in Bb

Bsn.

Tuba

Perc. 3

Perc. 4

Piano <

Vln.

Cello

n bass clarinet

n

.=>* fnf

• •/»«•••* R — I

f r f £ j

r

R R R Lr R

$ | | J 7 l l P U :

- i

i i r J i . U « J = #J J j r ^ i J i J J I - N J " i

$ r

s - 1 | r r a r r f — f — p f | | n

,/ L

j-

U — | -j 1 — E 3 - J n I ' - q r I I - i i ; J j. .rijf E J ^ J - V J A====

- 9 9 -

•J l _ j j = = =

J t L

J | | J ||J - =

In Nomine Domini - Tye

PL (Pico.)

EM

Tpt in C

Tbn.

Rem. 1

Pare. 2

Hn. in F

Bass

Clar. (B.CL) in Bb

B Perc. 3

Pare. 4

Piano

tfz f f f Is i" "Lf true r

flautando

P

flautando

Ceib

- 1 0 0 •

in Nomine Domini - Tye

Fl (Pico.)

Tpt. in C

Pom. 1

Pore. 2

Hn. in F

Clar. (B.CL) in Bb

Psrc. 3

Pore. 4

Piano

Cetb

101 -

In Nomine Domini - Tye

B

FL (Picc.)

EM

Tpt. in C

Thn.

Pare. 1

Pure. 2

Hn. in F

m.

Ob.

Clar. (8. CI.) in Bb

Ban.

Tuba

Pare. 3

Pare. 4

Piano*

Vin.

Cello

\i I

j

¥ ^ (harmon mute)

jp ,. -Q r f7~TH

- t -p =

»T j 1-i. ^

z z p z = = z z p ^ = z z z = = i )j. ^

W# V—-TU_

j , . i f l J J i,J

V 1 4 1-i, r * 1 — 1 f r i —

^ f*"f "f r - r l r r r h — i ,-i r i i 9' J * jJ |»" J' j= __ ,

r>. r*1—1 h~1—

u w r 'iJ

r f n '•' | | j A

r."d~, _ — — p - ' r i _ ., ri 1 ~„ 1 r*H >J JjjJ l»- J'J tfz

a tfkJ f itj n

4— ^ Pt : : ^ = r %t =

H9

j j j j j ^

j ^

$ J J ffJ- J~j tfz

J j|J J ^ ^SE =g j =

tfz LJ jJ J ^EE

• 102 -J

In Nomine Domini - Tye

Fl (Picc.)

EH.

Tpt in C

Tbn.

Pore. 1

Pore. 2

Hn. in F

Via.

Bass

Ob.

Clar. (B.CI.) in Bb

Bsn.

Tuba

Pore. 3

Pore. 4

Piano <

Vfn.

Celb

J ' 1 L = L _

4 = = = = =

* . nJ .=r= i r i ii n p . n H S = = = = F = | [.! , fr- 1

—i r - i 1, r —

f ~ J ~ =

- A 1—

^ j "

[r l | j

? - = j

J J JIN -1 [ r *==2z j»- = j =

V =

/>

cwrfa,}

= - n = - n

-103-

in Nomine Domini - Tye

PL (Picc.)

Tpt. in C

B

Pore. 1

Pore. 2

Hn. mP

dm (B.CI.) in Bb

(simile)

flautando

fmutmm

Pure. 3

Pare. 4

Piano

> 104-

In Nomine Domini - Tye

Ft. (Picc.)

Tpt in C

Pore. 1

Pore. 2

Hn.inF

Ctar. (B.Cf.) in Bb

Pore. 3

Pore. 4

Piano

Celb

105-

In Nomine Domini - Tye

B

Fl. (Pica)

E.H.

Tpt. in C

Tbn.

Perc. 1

Pom, 2

Hn. in F

Via.

Ob.

Ciar. (B.CI.) m Bb

Bsn.

Tuba

Perc. 3

Perc. 4

Piano*

Vln.

Coib

• w.

1 3 r - i t — 1 > —

p i 5 p

j n j : = ^ = j

n

H S J J J ^ J [ L .

A |

c m

J j > 3 |

- - 2 = J i >J '

- 4 - 3 u j ' * j j r ^

$fz

&

P

(ma corda)

1 0 6 -

In Nomine Domini - Tye

Fl. (Pico.)

EH;

Tpt in C

Tbrt.

Pore. 1

Pore. 2

Hn.inF

Vto.

Bass

Ob.

Glar, (B.CL) in Bb

Bsn.

Tuba

Pore. 3

Perc. 4

Piano <

Vln.

Cello

9 - — 4 =

r rl » j =

—j?—j,. — — j- i

^ J =

— J — — i

[Ml -# = 1

j ^ ^ '

I - =

^ =

1 - = =

f - =

t j A

1 - SEE

J J ^

- 107-

in Nomine Domini - Tye

Ff. (Pico.)

Tpt in C

Pore. 1

Pore. 2

Hn. in P

Clar. (B.CI.) in Bb

B P&rc. 3

Pore. 4

Piano

(FADE OUT ALL MICJ

i

1 0 8 •

Tho Colony, Texas May 24, 1995