{"id":3829,"date":"2024-01-29T10:31:05","date_gmt":"2024-01-29T10:31:05","guid":{"rendered":"https:\/\/resonatamusic.com\/?post_type=product&p=3829"},"modified":"2024-02-14T10:09:11","modified_gmt":"2024-02-14T10:09:11","slug":"byrd-six-gradualia-for-trombone-quartet-nos-4-6-pdf-download","status":"publish","type":"product","link":"https:\/\/resonatamusic.com\/?product=byrd-six-gradualia-for-trombone-quartet-nos-4-6-pdf-download","title":{"rendered":"Byrd – Six Gradualia for Trombone Quartet (Nos. 4-6) (PDF Download)"},"content":{"rendered":"

Along with the\u00a0Cantiones Sacrae<\/i>\u00a0of the late sixteenth century, William Byrd\u2019s two sets of\u00a0Gradualia<\/i>\u00a0are a towering achievement of renaissance polyphony, and epitomize the English style.\u00a0 Dedicated to Byrd\u2019s patron Sir John Petre and the Catholic recusant community of which Byrd was a prominent member, the motets of the\u00a0Gradualia<\/i>\u00a0are concise settings of the Proprium Missae for the major feasts of the church calendar.\u00a0 Each feast day is given its own sub-section and this principle is followed in these collections for trombone quartet.<\/p>\n

Each feast day follows roughly the same textual format: usually Introit, Graduel, Alleluia, Offertoire and Communion, in keeping with the Catholic liturgy.\u00a0 This collection is typical of Byrd\u2019s compositional style of the period, in which the convoluted imitative counterpoint of the\u00a0Cantiones Sacrae<\/i>gives way to a more restrained style in which the counterpoint, while still complex and of interest, assumes secondary importance.\u00a0 Long melismatic paragraphs are the exception, often occurring at the end of important phrases.<\/p>\n

Parts included:<\/p>\n