M. Roth, AMS Indianapolis 2010, p. 1 mroth1@naz.

edu

Example 1: Orlando di Lasso, Carmina Chromatico, Prophetiae Sibyllarum Original Latin Text & Various Translations
Carmina chromatico quae audis modulata tenore Haec sunt illa quibus nostrae olim arcana salutis Bis senae intrepido cecinerunt ore Sibyllae.

Polyphonic songs which you hear in a chromatic tenor These are they, in which our twice-six Sibyls once Sang, with fearless mouths, the secrets of our salvation. (Peter Bergquist, 1979) These verses which you hear, set in a chromatic style, Are those which, long ago, were uttered by the clear voices Of the twelve sibyls, proclaiming the mysteries of our salvation. (Hilliard Ensemble, 1993) The prophecies you will hear set chromatically to music Are those that, with fearless mouth, the twelve Sibyls once sang, The secret of our salvation. (De Labyrintho, 2006)

These are songs which proceed chromatically. They are the poems in which the twelve Sibyls, one after the other Once sang the hidden mysteries of our salvation. (C. Flanigan/T. Binkley, 1984)

Well-modulated songs from distant shores you shall hear, Songs through which, in times of yore, the wonder of our salvation Was heralded twelve times in the words of the holy Sibyls. (Cantus Clln, 1994) The verses, which you are to hear, set in the chromatic style, Are those in which, long ago, with undaunted voice, The twelve Sibyls sang the mysteries of our salvation. (Ensemble Daedelus, 2006)

The songs you hear set here in the chromatic mode Are those with which the Sibyls of old, with intrepid mouth, Did twelvefold sing the mysteries of our salvation. (Weser-Renaissance Bremen, 2009)

Prophetic songs, that you now hear, sung polyphonically to a chromatic tenor, They are [the songs] in which our twice-six Sibyls once sang, with intrepid mouths, the secret of our salvation.

(M. Roth, et. al.)

Hermes Trismegistus, Siena Cathedral pavement, c.1488

Lasso Coat-of-Arms, knighted 1570 by Emperor Maximilian II

Lasso, Prophetiae Sibyllarum partbook portrait, c. 1558-60

Example 2: Orlando di Lasso, Carmina Chromatico, Score & Translation

M. Roth, AMS Indianapolis 2010, p. 2 mroth1@naz.edu

Total Triads used (17): C c c# D Eb E e F F# f# G g g# A a Bb B Total Pitches used (14): C C# D D# Eb E F F# G G# A A# Bb B (pitches not used: Ab Db, Gb) Tonal type: Low clef, no signature, and G final configuration corresponding to the tonal type representing Mode 8 Melodic interval content, by voice: Chr. semi-tone semi-tone whole-tone m3 M3 P4 P5 Soprano: 2.5 9.5 11 4 4 2 3 Alto: 2.5 11.5 15 6 1 3 2 Tenor: 0 19 13 2 2 0 2 Bass: 0 5 11 5 7 13 10

m6 0 1 0 0

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Examples 3a, b, c, d, e: Lesson Tones & Carmina chromatico Opening Motive

Example 3a: Prophecy Tone Intonation Flex/metrum Closing formula

Example 3b: Epistle Tone Intonation Flex/metrum Closing formula

Example 3c: Gospel Tone Intonation Flex/metrum Closing formula

Example 3d: Carmina chromatico mm. 1-2:

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Example 4: Orlando di Lasso Carmina chromatico, Prophetiae Sibyllarum (Spectrum of Hexachord Transpositions)

F# (6#)

F#

C#

g#/G#

d#/D#

a#/A#

B (5#)

F#

c#/C#

g#/G#

d#(D#)

E (4#)

f#(F#)

c#(C#)

g#(G#)

A (3 #)

b(B)

f#(F#)

c#(C#)

D (2#)

e(E)

b(B)

f#(F#)

G (1#) hard hexachord

a(A)

e(E)

b(B)

C ( 0 ) natural hexachord

d(D)

a(A)

e(E)

F (1b) soft hexachord

Bb

g(G)

d(D)

a(A)

Bb (2b)

Eb

Bb

c(C)

g(G)

d(D)

M. Roth, AMS Indianapolis 2010, p. 5 mroth1@naz.edu

Examples 5a, b, c: Lasso Carmina chromatico, Prophetiae Sibyllarum Text & Corresponding Hexachord Transpositions (soprano underlay)
5a Line 1: Triads: (mi-fa): Car- mi- na * chro- ma- ti- co quae au- dis mo- du- la- ta * te- noC G G B c# E E f# f# D6 G/C C F Bb D c6/D c b d# e g# a c# d b c a Bb f# f# g e f mi fa * mi fa (soprano) mi fa (soprano) mi fa (alto) mi fa (bass) fa mi (alto) * re G g b

B (5#) E (4 #) A (3 #) D (2#) G (1#) C (0) F (1b) Bb (2b)

* mi mi fa (tenor) mi fa (alt/sop) mi fa * (tenor) mi fa (bass)

mi fa fa (soprano) mi(ten-)

5b Line 2: Triads: (mi-fa)

Haec * sunt illa qui- bus C E AD G G e g# a f# g g c c# d

nos- trae F# F# f# a#

o- lim ar- ca- na sa- lu- tis B E g# /E A D G G G C d# e f# g b c b g# a/c# d

F# (6#) B (5#) E (4 #) A (3 #) D (2#) G (1#) C (0) -fa * (-or) * mi fa (soprano) mi fa (tenor) mi fa (alto)

mi fa (tenor) mi fa (alto) mi fa (bass) mi fa (tenor) mi fa (soprano) mi fa (tenor)

fa mi+ (soprano)

5c Line 3: Bis se- * nae in- tre- pi- do ce- ci- ne- * runt ce- ci- ne- runt ore Si- byllae. Triads: C F D gm Eb Bb Bb F a G E A D gm F Bb F a C (F6/D) G (mi-fa): e f f# g/ d E-b f e g# e f# g f e a Bb Bb a c# d Bb a c b B (5#) E (4 #) A (3 #) D (2#) G (1#) C (0) F (1b) Bb (2b) mi fa (alto) * mi+ fa (soprano) mi fa (tenor) fa mi (alto) fa mi (soprano) * + fa fa mi (tenor) * mi fa (alto) * mi fa (alto) mi fa (tenor) mi fa (al to) fa (alto) mi (soprano) mi

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Example 6: Orlando di Lasso, Carmina chromatico, Prophetiae Sibyllarum Table of half-note Harmonic/Rhythmic Durations
Line/Phrase Phrase 1 (mm 1-9): triads durations c Bb F 1 2 1 ( Flat side: 4 ) C 6 G 7 e 2 Harmonies C 5 G 8 D f# E 4 3 3 ( Sharp side: 30 ) g# 1 c# 3 B 4 Half-note Durations 34

Phrase 2 (mm. 9-18): triads durations

D A E B 4 4 7 2 ( all Sharp side: 35 )

F# 2

35

Phrase 3: (mm. 18-25): triads durations

Eb 1.5

Bb g F C / a 5.5 2 6.5 3 3.5 ( Flat side: 22 )

G 5

D A E 1.5 1.5 1 ( Sharp side: 9 )

31

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