Print and download in PDF or MIDI Jubilemus Exultemus. Print and download in PDF or MIDI Jubilemus, exultemus – François Couperin ( , ). Free sheet music for Piano, Organ. Made by. Organum: Jubilemus, exultemus (Paris, Bibl. nat. lat. 1 1 39, fol. 41; early twelfth century) This is a Benedicamus Trope for the Nativity, from the oldest of the St.

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The “Benedicamus Domino” and their tropes The Benedicamus is a simple formula of farewell consisting of intonation for the officiating “Benedicamus Domino” bless the Lord and the reply of the Assembly or choir with the “Deo Gratias” Thanks be to God. This formula of farewell is mainly used in the tradebut it is also used in the massas an alternative to the ” Ite missa est ” go in farewellformula that ended up giving name to exiltemus “mass”.

Melodies of the Benedicamus medieval repertoire is very variedand covers from simple formulas in Recitativeeven lush melodies melismaticasoccasionally “borrowed” from other chants of the office or of the mass.

The Benedicamus occupies a crucial position in the development of Western polyphonygiven the very important role that during centuries XI to XIII as the basis for the composition of organa and conductus and motets. In this first article dedicated to the Benedicamuswill study a florid organum this text – based and included in one of the most ancient sources of the so-called School of Saint martial of Limoges: The “Benedicamus Domino” received an intense impulse from the 11TH centuryin relation to the development of great festivals such as those dedicated to the Apostle James in Santiago de Compostela.

As a formula of farewell that was”Benedicamus Domino” should be amplified – often shaped processional – to provide greater spectacle at the end of the liturgical celebrationsleading to the creation of numerous poetic and musical works from this text.

In this waythe Benedicamus became one of the main sub-genres of the polyphonic composition of the 12TH and the 13TH part. If us occupies “Jubilemus, exultemus” participates in all these factorsgiven that: It is composed on a text tropado: A Latin poem of eight verses ending with “Benedicamus Domino”, amplifying and contextualizing its meaning with regard to the celebration of Christmas.

It is made in style of florid organumin which an organal voice very melismatic overlaps to a main voice of syllabic style.

Jubilemus, exultemus, intonemus canticum. Redemptori, plasmatori, salvatori omnium.

Hoc nathali, salutari, omnis nostra turmula. Qui hodie de Marie utero progrediens. Homo verus, rex atque herus in terris apparuit. Tam beatum, ergo natum, cum ingenti gaudio. Conlaudantes, exultantes, Benedicamus Domino. The organum “Jubilemus, exultemus” is recorded in ecultemus manuscript fol. It was written around the year and is considered the oldest manuscripts ascribed to so-called school San martial of Limogesthe principal center of polyphonic production of the 12TH century.

The score consists of two voices in aquitanian notation diastematicaseparated by a red intense stroke. A thin perforated line not noticeable in the pictureand that we have added digitally by a grey line indicates the height Sol G in each of the voices.

There exultemux also some scattered alphabetical indications indicator height Carl ParrishThe Notation of Medieval Music The system of notation which does not provide information about the pace and durationsalthough presumably it requires an interpretation in free rhythm – suffers from major inaccuracies: The determination of heights is sometimes questionable.


Especially the descending start of the lower voicewhich seems to divide the field of descending fifth Sol-Do in six heights instead exulteus five. The synchronicity of voices is equally vague. All of this is not surprising the huge differences that can be found between the modern editions.

Jubilemus, exultemus

Adhering to the initial versewill compare the transcription of the musicologist Jacques Handschin uber die mehrstimmige Musik der St. Martial – EpocheUniversitat Baselwith the led to the studio recording by the Group Sequentia medieval in Although differences do not become so intensive in subsequent sentencesthe example is very enlightening about the relative value of the transcripts of this type of musicas well as the enormous artistic effort involved to get a convincing interpretation.

In any casethe overall profile and exultfmus style of the work is sufficiently defined so that the jubllemus of the analysis of a particular Edition in our casethat of Handschin can make by valid.

The lower voice vox principalis carries the melody in syllabic style one note per syllableexceptionally two notesand it must be toned by a small choir perhaps jubilems or three singers at most. Although it acts similarly to a tenor as basis of polyphonymelody has been recognized in another sourceand could not have been composed for the occasionor have also been used in monodic form at an earlier stage.

Melody moves on a plagal scope of ninth from sxultemus bottom Do to Reby jkbilemus could be classified as belonging to the mode 8. The prominent use of height Do above the Sol butin a most surprising waybelow the Solreinforces the allegiance to this mode.

The movement of the voice is very fluid and naturalwith a predominance of joint degrees. The jumps are all thirdexcept for a jump from fourth just in the last sentence do not include the fifth jump located in the change of semifrase of the third verse. The final verse presents the most eccentric profiledue to the concatenation of waterfalls descending third Re-Si-Sol-Mi-Sol-Re. The melody is continuous from start to finishwithout repeating melodic turns in a blatant way.

The organum “Jubilemusexultemus” melodic rhymes. The upper voice exultemjs organalis develops its melody in a style highly melismatic some melisma becomes overcome 20 notes in the edition of Handschin and virtuosicand must be entrusted to a soloist singer. The movement of the voice is very fluid during the main part of the work. It is easy to recognize in the Do reference like a string of recitation at least in the first five verses.

This state of balance is broken on wxultemus occasions well exultemjs large upward jumps sixth and even eighthbroad melodic arches or descending scales.

This type of expressive resources are used increasingly intensively in the last three exuletmus. The organal voice exultenus a series of twists at the end of some sentencesas Cadence or melodic rhyme melodic. Are two main rhymesto which will be called rhyme rhyme and a b. The rhyme is a melodic arc of a 7th of amplitude in the edition of Handschin. It appears at the end of the 1st and 2nd verseas well as the first semifrase of the 6th.

We can simplify the tonal and harmonic structure of the organum analyzing the succession of intervals exulfemus form between both voices at the moment that changes the main lower voice. So we will check that the initial intervals and end of each semifrase are always the unison and octave. Only on three occasions the initial semifrase opens exuotemus an interval other than these: We ‘ll briefly discuss each verse. Although the analysis is based on the transcription of Handschinwe offer to each sentence hearing from versions of Handschin left column and by his recording right columna very expressive interpretation group Sequentia.


These two verses have very similar characteristics. Their semi-phrases are both a symmetrical tonal jhbilemus g- c and c- g. Exultejus organal voice moves smoothly within a framework established by the final g and the cconcluding with the cadential formula to.

Despite sharing characteristics very similar to the previous verseverse 2 does not repeat literally any significant melodic gesture – with the exception of the cadential formula end-which gives account of the character and source of the organal voice improvisatory.

Preview Jubilemus Exultemus – Couperin Direction (CJ.A) – Sheet Music Plus

These two verses are slightly different to the previous tonal structures and introduce a new cadential formula the rima b. The tonal structure of verse 3 is G-G and D-G. The organal voice opens its melodic framework to Sol-Rereaching an upper limit on the note f. Verse 4 has a tonal structure D-G and G-G. The initial semifrase appears to recover the initial framework of fourth Sol-Dobut will start the second semifrase by a spectacular jump of octave that designates also a new upper limit on Solallowing you to attack the cadential formula b from above.

Un テウrganum florido del siglo XII: Jubilemus, exultemus | HISTORIA DE LA Mテ售ICA

Verses 5 and 6 start to introduce sections in which the organal voice runs syllabic form notes in blackthus accelerating the global pace. His speech evolves towards a relaxation of the tension and a renewal to the State of equilibrium represented by the initial verses. Verse 5 is the only one that concludes on a note other than Sol in particularin the Doafter being held in the seventh frame formed by the exulhemus Sol and Fa.

Verse 6 seems to regress to the level of initial tensionrecovering part of fourth original Sol-Do and recovering the cadential formula in the first semifrase. Unexpectedlythe second semifrase repeats verse 4 octave jumpbeing slammed in the upper register and launching the melody to their melodic ceiling the the conclusion brilliantly in the sharp sunlight.

François Couperin

Verses 7 and 8 represent the climax of the work. The syllabic passages of the organal voice intensifies speeding up speech while maintaining your registration on the sharp edge reaches the S ol in verse 7 and again the in verse 8. Verse 7 ends with a long melisma on the note Sol of the lower voice. The final verse reaches for the last time the acute near the endprecipitating the resolution in a virtuosic phrase by recovering the cadential formula b. Interpretacion del Ensemble Gilles Binchois, basada en la edicion de Handschin [].

Redemptori, plasmatori Csalvatori omnium G A. Hoc nathali, salutari Gomnis nostra turmula G B. Deum laudet, sibi plaudat Gper eterna secula G B. Homo verus, rex atque herus G A in terris apparuit G. Tam beatum, ergo natum Bcum ingenti gaudio G.