PASSAGE OF TIMR- THE JOURNEY OF A DAY

by

STEPHEN S. MILES, B.M.

A THESIS

IN

MUSIC THEORY

Submitted to the Graduate Faculty of Texas Tech University in

Partial FulfiUment of the Requirements for

the Degree of

MASTER OF MUSIC

Approved

Accepted

May, 1998

Copyright © 1998 by Stephen S. Miles

ACKNOWLEDGMENTS

I would like to thank Dr. Edward R. Pearsall for instilling in me the motivation to

become a better theorist and Dr. Paul F. Cutter for his faith in my work. A very special

thanks is in order for the chair of my committee. Dr. Mary Jeanne van Appledorn, for her

undying devotion to making me as good a composer as I am capable, as well as her seemingly

unending passion for detail. I would also like to thank my wife Joyce. Without her, my

music, and my life, have no passion.

11

TABLE OF CONTENTS

ACKNOWLEDGMENTS ii

LIST OF FIGURES iv

LIST OF MUSICAL EXAMPLES v

LIST OF ABBREVIATIONS vi

CHAPTER

I. INTRODUCTION 1

H. FORM AND MELODY 2

III. TONAL CENTERS, SCALES, AND PITCH CONTENT 9

IV. THE ORCHESTRAL SCORE 11

V. NOTES TO CONDUCTOR 71

BIBLIOGRAPHY 72

APPENDICES

A. FORM CHARTS 73

B. TEXT AND TRANSLATION 78

111

TABLE OF CONTENTS

ACKNOWLEDGMENTS ii

LIST OF FIGURES iv

LIST OF MUSICAL EXAMPLES v

LIST OF ABBREVIATIONS vi

CHAPTER

I. INTRODUCTION 1

n. FORM AND MELODY 2

III. TONAL CENTERS, SCALES, AND PITCH CONTENT 9

IV. THE ORCHESTRAL SCORE 11

V. NOTES TO CONDUCTOR 71

BIBLIOGRAPHY 72

APPENDICES

A. FORM CHARTS 73

B. TEXT AND TRANSLATION 78

111

LIST OF FIGURES

A.l Form Chart for Movement I. Dawn 74

A.2 Form Chart for Movement II. Midday 75

A.3 Form Chart for Movement III. Even-Song 76

A.4 Form Chart for Movement IV. Night 77

IV

LIST OF MUSICAL EXAMPLES

2.1. A' melody and doublings (reduced) mvt. I, mm. 5-9 2

2.2. A' melody and doublings (reduced) mvt. I, mm. 10-14 3

2.3. A' melody with bird-like accompaniment (reduced) - mvt. I, mm. 21-24 3

2.4. "Leaf and "Breeze" melodies - mvt. I, mm. 26-29 4

2.5. Mozart-like melody mvt. II, mm. 1-3 4

2.6. Transition (reduced) - mvt. II, mm. 17-20 5

2.7. Horn and Trumpet reduction - mvt. Ill, mm. 3-11 6

2.8. Hemiola pattern of mvt. Ill, mm. 19-23 6

2.9. Reduction flute, oboe, and trumpet melodies - mvt. IV, mm. 32-34 7

LIST OF ABBREVIATIONS

Fl.

Ob.

Clar.

Bsn.

Hrn.

Trpt.

Trmb.

Timp.

Perc.

Sop.

Tn.

Bs.

Vln.

Via.

Cello

Cb.

Sus. Cym.

Cr. Cym.

Xylo.

al

a2

Div.

mvt.

m. (mm.)

Flute

Oboe

Bl Clarinet

Bassoon

Horns in F

B\} Trumpet

Trombone

Timpani

Percussion

Soprano (voice)

Tenor (voice)

Bass (voice)

Violin

Viola

Violoncello

Contrabass

Suspended Cymbal

Crash Cymbals

Xylophone

One Player

Two (or all) Players

Divisi (divided)

movement

measure(s)

VI

CHAPTER I

INTRODUCTION

The idea of representing the passing of time musically has intrigued me for over four

years. I have heard, through those years, a large number of programmatic works describing

everything from seasons of the year to the life of a great hero. Yet I have never heard music

that expresses the feelings, sights, sounds, and typical events of just one full day. Passage of

Time: The Journey of a Dav is my attempt to accomplish that task.

The research for this work was unique to say the least. I studied many programmatic

scores so that I might gain a more thorough understanding of how other composers attempted

to express events with sound. Beyond that, however. I spent quite an abundance of time

simply listening to the different sounds that a day itself brings forth.

I began the compositional process of Passage of Time in the fall of 1996, soon after I

began work on my master's studies. Although the idea for this work had been stirring in the

back of my mind since early 1994,1 did not feel at the time that I had the knowledge or

experience of composition I needed in order to proceed with my ideas. As an undergraduate

in Music Theory at Texas Tech University, I studied composition as much as I could and

composed Spirits of the Davis Mountains. This work, which can be viewed as a precursor to

Passage of Time, is written for solo soprano saxophone and piano. Although one may think

the instrumentation unconventional, there was method to my madness. Soprano saxophone is

the instrument I play most frequently, so I decided that writing a programmatic work for it

would allow me the closest possible intimacy with musical concepts.

In preparation for writing a programmatic work for full orchestra and choir, I set

about the business of learning how to express events, mental and physical images, sounds and

textures through music. The music I chose, of course, is entirely personal. After all, musical

sounds mean different things to different people. Indeed, if I were to come back to this work

in five years I am sure that most of the sounds would no longer hold the same meaning even

for me. In fact, then, a composition that attempts to express thoughts and feelings can never

express such ideas absolutely because people's perceptions—and hence, their responses to

music—are continually changing. Let it suffice to say that Passage of Time is a musical diary

of how I have perceived a typical day in my life during the last three years. I do not expect it

to convey my thoughts and feelings directly, although I hope each listener might derive satis­

faction from it in his or her unique way. Beyond this, I can only say that although personal

journeys must always be solitary, it is the essence of humanity to want to share those journeys. I

CHAPTER II

FORM AND MELODY

Passage of Time is a four-movement program symphony, musically describing the

occurrences in a typical day of my life from dawn to midnight. The movements are

connected in order to more closely represent time and its continuity. All four movements (1.

Dawn, II. Midday, III. Even-Song, and IV. Night) begin with the tubular chimes (bells)

"tolling" the hour of the day represented in each movement. The fourth movemcnl ends in

the same manner, with the bells chiming the final hour, midnight. This not only brings a

close to the day. it also is a reminder that a new day is just arriving.

Movement I. Dawn, marked Largo, utilizes the following part-form scheme':

A' A" B' B" (modified Baroque Binary form) with a short transition between A' and A'.

A' (mm. 1-14) begins very softly and slowly with the tubular chimes tolling the 6:00 a.m.

hour. . .the hour of dawn. In the interval of time between the sounding of the fifth and sixth

strokes, the contrabasses creep in with the tonic note Eb, followed one measure later by a Bh

in the violoncellos.' Al m. 5 the A' melody begins in the upper strings (Example 2.1). This

line is muled and doubled al the octave. The timpani can be heard in Ihe background gently

sounding a mixture of unconnected tones.

Example 2.1. A' melody and doublings (reduced) mvt. 1, mm. 5-9.'

Viol ins ! | ^ — ^ i ^ , — ^ ,

5 ("."led) J ^ e j ^ ^ - J i g ^ Violins II (muled) PPP

Violas(mulcd)^

^ P

LS^ <?-

^ ^ ^

P-731

'^^^=i^. ^

Tm

r SL

PPP

The A' melody ends in m. 8 and is immediately repeated with the addition of the brass

section (Example 2.2) which is now doubled a tenth below as well as at the octave, producing

a richer texture as light begins to softly illuminate the earth. In m. 10 a bird is rcpresenled by

a gentle upward rising figure in the llute. A' ends at m. 14 with the tolling of 2 more notes in

the chimes.

1 r-For complete form charts of each movement, refer to Appendix A, pages 74 77.

' The word tonic does not imply that this pieces functions tonally, but that El is the tonal center of this passage.

"'All examples are in concert pitch.

Example 2.2. A' melody and doublings (reduced) - mvt. I, mm. 10-14.

PPP

A transition begins in m. 15 with the syncopated rhythms in the strings. The A" melody

(Example 2.3 - first violins) begins in m. 21 with an almost identical rcpelition of the A'

melody. Now the melody is supported with the higher voices of the flutes and clarinets.

More bird-like figures, similar to the ones heard in A', now enter in the oboe.

Example 2.3. A" melody with bird-like accompaniment (reduced) mvt. 1, mm. 21-24.

In m. 26, section B' begins with a new melody. This flute melody (Example 2.4).

which symbolizes a leaf gently floating in the breeze because it seems to meander aimlessly

without an apparent musical goal, is one of the most important of the work, for the "leaf

melody will be heard, in various guises, throughout the entire symphony. Below this leaf

melody, the trumpet sounds another cyclical theme, the underlying breeze that is propelling

the flute line. In m. 30, as the "breeze" continues, the "leaf melody is heard in rhythmic

diminution. Measure 34 brings another reiteration of the "leaf melody in the first violins.

-i '^.n;i!T(ri ' ' i ; W'>JiJ-\il('V'T^'irv::ffl,>r5T!Hj'IH

Example 2.4. "Lear and "Breeze" melodies - mvt. I, mm. 26-29.

26 Flute

b l^S^ m t-27

P Bh Trum|)cl

31 22 CJO

Z'^fL -28Pt» e

<?- ^

•29f5*

2Z

With the anacruces to m. 38, section B" begins with a fughetta passage using the

"leaf melody, just heard in the violins, as the subject, and a new rising line in the violoncello

acting as the countcrsubject. This passage embodies a transformation of texture with a

continuous shift of thematic line from one instrument family to another while the dynamic

level perpetually increases until the third beat of m. 53. Ihc forte chord heard here begins a

brief but impetuous transition to the next movement.

Movement II. Midday, has a formal scheme of: A' A' B (modified German Bar

form), with a short transition between A" and B. A' begins with a fortissimo tiitti figure,

followed by a stately Mozart-like melody (Example 2.5) which commingles with the chimes

signaling the noon hour. This melody, in D Major, suggests the hurried, frantic atmosphere

of high noon, as the sun beats down and the world seems to move faster. A' ends in m. 8, and

the following measure brings back the same opening figure set forth al the beginning of the

movemcnl. A" proceeds from mm. 9 through 16 with a restatement of the A' melody, now in

D minor.

Example 2.5. Mozart-like melody mvt. II, mm. 1-3.

Violins 1 & II A A A

'Cellos &. Basses

The anacrusis to m. 17 announces the chorus for the first time in the work. This begins

the transition, marked by short figures that leap from voice to voice (Example 2.6). Here the

chorus sings the syllable "la ," creating a sense of non-verbal "chatter." The fragments begin

to meld into more linear thoughts in m. 20 and culminate in the downward sweeping lines of

most of the instruments in m. 22. The opening figure (see Example 2.5 above) recurs for a

third time, but with a deceptive resolution which leads to section B.

Example 2.6. Transition (reduced) - mvt. II, mm. 17-20.

17

^ ^

18

£ Z I I

19 A 20

I 'lp=«=f=? ^ ^ ta^

Chorus La la la. La fa la. I ^ la.

gj^^S U Izzt u \M la la

it' t * i

^

Violin.s I # ^ fe mf

Oboe

^

Tromtxinc

i^

ft^

^ee lief tffee

fe f#- - t 9 -

— I g ^ =™-

^ £ ^ E I & ^

"if ? f r r r r J ® ^ £

^ " /

g g ^ Bassix)n

isi:^ S-

The final section of this movement commences with a loud ringing of the chimes,

heralding the coming evening and eventual darkness. The violoncellos and basses then enter

in m. 25 with a low C, starting what shall become a rhythmically driving passage that

encompasses all 12 notes of the chromatic scale, rising through seemingly endless perfect

fourths in a complete quintal construction. At the height of this developmental passage comes

the "leaf melody in the first and second violins (m. 30). Due to the lowering of scale degree

seven (Al'), the melody now has the irritable flavor of the Mixolydian mode. The quartal

ascension continues through this melody, reaching its summit in m. 44 with the sounding of

the last three notes which are given to the xylophone. These three notes (A, D, G) are

repeated in a short ostinato pattern until m. 46 when both the notes and the tempo seem to

give in to the pressure. Here the lower pitches and slowing of the tempo set the atmosphere of

the evening, depicted in the third movement.

The form of movement IIL £ve/7-5o/7 , A' B' C A' B' C', creates an interesting

repetitive pattern that-although it has no readily identifiable fixed form-suggests a

modified estampie. in which all sections are stated in their entirety before being repeated.

The A' section suggests the evening hour of seven o'clock with the tolling of seven chimes. In

Example 2.7, above a three-note rising fifth pattern in the lower strings, muted horns in F and

muled B\> trumpets are heard in alternation producing a melody that is loosely based on the

breeze melody of movement I.

Example 2.7. Horn and Trumpet reduction - mvt. Ill, mm. 3-11.

t * Bt Truinpcl (muled)

7 8 9 10 11

m^ Horn II in

SF^ PPP

(muled) E

Villas ^m

sc m

JQ

Ul

'Cellos ^f^=^-

I Z

i

4 <*-

[zzz: M-X

--r} n

n Cl? Basses

Section B', beginning in m. 11, introduces the tenor voice with the text from the first

two verses of the hymn Lucis Creator optinie.' This section, written in an imilalivc style,

utilizes conlrapuntal techniques typical of the sixteenth century. The use of this style is meant

to create an impression of the quiet serenity that twilight brings.

Section C' commences at m. 29 with a strong contrast of mode, tempo, text, and

dynamic level. Here the text is taken from the opening prayer of "Vespers for Sunday" titled

Gloria Patri, which functions as a refrain after each verse of Uicis Creator optimc. It is sung

antiphonally with percussive ostinati and figural rcncclions of the "breeze" melody heard in

various instruments. A major point of demarcalion for this section is the use of the liemiola

rhythmic pattern. Example 2.8 shows the 'cellos and basses which maintain this pattern

(bracketed) for most of the C section. The last four measures of section C (40-43) are

strictly written in this hemiola rhythm.

Example 2.8. Hemiola pattern of mvt. III. mm. 19-23.

19 'Cellos and Basses 20 21 22 I 23

^ ^

PP

Id 'f-

Sections A and B= (beginning in mm. 44 and 48, respectively) bring back the same

melodic lines of A' and B' with little variation, although the short instrumental bridges

between phrases of the text are now written in rhythmic diminution. Section C" carries the

i For the complete text and translation of Lucis Creator and Gloria PatrL refer to

Appendix B, page 78.

same text as C', but now the choir's music is written homophonically with sweeping violin

lines interspersed between phrases. The movement ends with these ascending lines fading into

the quiet of night as darkness emerges from the corners.

The formal scheme of movement IV. Night, marked Largo and suggesting the approach

of midnight, is : A' B A^ C A' (modified second Rondo form). Although this movemcnl

embodies new material throughout, all of the underlining structural ideas are indeed

derivatives of sections heard in earlier movements, recalling earlier events of the day.

Section A' (mm. 1-6) roughly resembles the retrograde of section A' from the first

movement, largely due to the upward rising half notes in the strings. Section B begins in m. 6

with imilalivc entrances of the voices rhythmically augmenting the B' section of movemcnl

III. Now, however, the voices have reverted to the non-verbal syllabic treatment of this

music heard in movement II. Section A' (mm. 17 through 21) virtually repeals section A'

from the first movement with augmented gestures of the bird figures from Dawn heard again

in the upper winds.

Measures 21 through 24 comprise a return of transition material from earlier

movements, in which the five-note gestures in mm. 21 and 22 and the seven-note figure in m.

25 (voices and upper woodwinds) are augmentations of the short, unconnected figures heard

in the transition of movement II. Against this, the brass section sounds the music of the

chorus heard at the opening of the same transition in movemcnl II in rhythmic augmentation.

The final section (A' - mm. 25 to the end of the work) features a solo violin performing

a melodic line that imitates the "leaf melody but in a slightly syncopated rhythmic setting,

suggesting the difficulty of a person recalling that melody at the end of the day. The imitative

entrances of the fiute and oboe reinforce this idea. In m. 32, after the voices resume with a

single sustained note to clarify the memories, the flute and oboe alternate the original "leaf

melody in perfect recollection, while a solo muted trumpet softly echoes the "breeze" melody

in a lower part of the texture (Example 2.9).

Example 2.9. Reduction - flute, oboe, and trumpet melodies - mvt. IV, mm. 32-34.

1

At m. 35, the strings enter with the same melody heard in the opening of the first

movement, while the chimes commence the tolling of the midnight hour. Slowly all voices

fade, leaving the chimes to sound the final bell of this day, and ring in a new day yet to come.

8

CHAPTER 111

TONAL CENTERS, SCALES.

AND PITCH CONTENT

The signatures used in the score are for convenience only. For instance, the three Hals

at the beginning of the work do not imply that the first movement functions in the ke\ of Hn

Major, but that, because of the abundance of Bl s, Ek, and Ak, the global representation of

those accidentals in a signature of convenience provides for a clearer presentation of my

approach to this music.

The tonal center for sections A' and A' of the first movement. Dawn, is Ek The pilches

of the melodic descending lines in the upper strings and brass fill in the interval of a 5lli. F> to

Bk touching all chromatic tones within that interval (Eh. Eii, F. Gh, G l, Ak A':. Bp). Ihe

bird-like figures in the high woodwinds outline an El pentatonic scale (Ek F, Ak Bk C). the

fourth mode of the parent A? pentatonic scale. Section A" expands the pitch content to include

eleven of the twelve chromatic pitches, only excluding Go (the pitch that gives Eh its major

quality), while above this the oboe sounds the pilch class set Bh Bll C Dh — H — F Gh G\ Ak

a palindrome of two chromatic tetrachords above and below the En tonal center (mm. 21 -24:

see Example 2.3 above). Eh moves down to Ah as the tonal center of sections B' and B". The

"leaf melody is heard in the complete Ah Ionian mode, while the "breeze" melody slays

within the span of an Ah to Eh pentachord. When the countcrsubject enters in section B" (m.

37), it is written in the Eh Mixolydian scale, heard against the Ah Ionian scale of the subject,

giving the section a bi-modal quality.

The A' section of the second movement, Midday, can be described quite factually as

functioning in the key of D major, with Perfect Authentic Cadences occurring in mm. I and

8. Likewise, section A' (m. 9) functions in D minor, with a chromatic modulation back to D

major in m. 15 before another Perfect Authentic Cadence occurs in m. 16. These two sections

exemplify functional tonality in the Classical sense, utilizing gymel melodic doubling

characteristics (lines moving in parallel thirds, as may be seen in Example 2.5) and regular

eight-bar phrases. Section B. commencing in m. 25 with the metric change to i. is a flourish

of rhythmic variations on the J J. -'' pattern, which encompasses a complete free lwel\c-lone

construction of rising fourths. This background sets the stage for the entrance of the "leaf

melody (m. 30), heard here in the Bh Mixolydian construction.

Movement 111. Even-Song, brings back the tonal center of Eh. which remains for the

next two sections (A' and B'). The horn and trumpet melodies of section A' combine to form

an Eh Aeolian hexachord (Eh, F, Gh, Ah, Bh, C). When the chorus enters in Section B', the

seventh scale degree (Dh) is added to complete the construction of the Eh Aeolian scale.

Section C' displays the complete scale of the Bh Ionian mode. Sections A' and B' arc, like A'

and B', in the Eh tonal center, with the horn and trumpet "duet" again producing the Ir>

Aeolian hexachord while the chorus sounds the same full Eh Aeolian scale. Section C" begins

in the C Ionian center, shifts briefly to C Dorian, and then modulates down a whole step to the

Bh Ionian center (mm. 76 - 82) which leads to the final movement.

Movement IV. Night, begins with its Bh tonal center as the A' melody produces a

chromaticall} filled-in perfect fifth from Bh to F. The bass line, descending to H . begins

section B'. while the chorus alternates between the Eh Mixolydian and F Aeolian scales.

Section A' moves briefly through Dp to a new tonal center, C. This section contains a host of

quintal constructions with F Aeolian hexachords (F. G, Ah. B- . C. D?) and C Aeolian scales

saturating the moving lines. The "leaf melody, heard at the beginning of section C (m. 25).

outlines the Ah Ionian scale. The entrance of the chorus in m. 31 reinforces the Ar' tonal

center. The timpani, with its single repelili\ e notes throughout section A', forecasts the final

tonal center of Dh in section A\ In m. 35. the strings outline the perfect fifth of Dh to Ah.

utilizing a six-note synthetic scale with a split fourth scale degree (D.- . Er. F, Gr-. Gti, Ah).

The work comes to a close with a distancing open fifth (Dh to Ah) similarly to the way Dawn

began.

10

CHAPTER IV

THE ORCHESTRAL SCORE

11

PASSAGE OF TIME: The Journey of a Day

Instrumentation for Passage of Time: The Journey of a Dav

Flutes (2)

Oboes (2)

Clarinets in Bh (2)

Bassoon (2)

Horns in F

I St(2)

2nd (2)

Trumpets in Bh (2)

Trombone (2)

Timpani

Percussion I tuned (I)

Percussion 11 - untuned (1)

Chorus:

Soprano (4)

Alto (4i

Tenor (4)

Bass (4)

Violin 1 (6)

Violin II (6)

Viola (4)

Violoncello (3)

Contrabass (2)

12

; Rules

2 Otxxjs

2 Bb ClarincUs

2 Bassoons

Passage of Time: The Journey of a Day , Largo J.joi I. Dawn Stephen Miles

f

g=g

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70

CHAPTER V

NOTES TO CONDUCTOR

All instrumental parts in Passage of Time: The Journey of a Dav should be treated as

individual lines with their own goals, with the exception of the opening sixteen measures of

the second movement, Midday, which is more harmonically driven. The tempo markings are

only suggestions and need not be followed precisely, although the first and last movements

should be performed as slowly as possible while still maintaining the underlying pulse. The

tempo markings (i.e., J = 50 ±) imply that the quarter note may move slightly faster or

slower than the actual metronomic value indicated.

The non-verbal sounds of the chorus in the second movement should be sung as harshly

as possible in order to convey a hurried, impatient atmosphere. The tone quality of each

singer should be slightly harsh and gravelly with little or no vibration. A good effect would

be expressed if some of the singers were to sing slightly out of tempo, producing a "rolled"

quality to convey a sense of restlessness. The "ooh" syllables in the final movement should be

voiced as is the word food, with the lips held as closely together as possible while still

producing a good, distancing tone. The "ah" syllables, on the other hand, should be expressed

with the mouth and throat wide open (as in the word awesome), producing a warm sound.

On occasion throughout Passage of Time, the Percussion II part contains non-pitched

instrument notation written on five-line staves instead of the usual one-line staves. These parts

have been clearly marked with the appropriate instruments as well as the percussion clef, but

care should be taken not to confuse non-pitched attacks as actual pitches. The signatures,

which are present in order to guide the performer whenever a pitched instrument is called

for, will still be present along with the non-pitched percussion clef.

71

BIBLIOGRAPHY

Books

Adler, Samuel. The Studv of Orchestration. New York: W. W. Norton, 1989.

Blatter. Alfred. Instrumentation / Orchestration. New York: Longman, 1980.

Grout, Donald Jay. A Historv of Western Music. New York: W. W. Norton, 1996.

Jeppesen, Knud. Counterpoint: The Polyphonic Vocal Stvle of the Sixteenth Century. New York: Dover Publications, Inc., 1939.

Lefebvre, Dom Caspar, O.S.B. The Saint Andrew Daily Missal. Bruges. Belgium: Abbey of St. Andre, 1956.

Morgan, Robert P. Twentieth-Century Music. New York: W. W. Norton. 1991.

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

Stone, Kurt. Music Notation in the Twentieth Centu^^ New York: W. W. Norton, 1980.

Wuorinen, Charles. Simple Composition. New York: Longman, 1979.

Scores

Beethoven. Ludwig van. Symphony # 3 Eroica. New York: Harcourt, Brace & Company. 1935.

Lowranee, Bryce H. The Bethlehem Story. Lubbock: Texas Tech University. 1995.

Respighi. Ottorino. Pines of Rome. Milano: Ricordi, 1953.

Vivaldi. Antonio. The Four Seasons. London: E. Eulenburg. 1958.

Software

Finale ® for Macintosh. Version 3.5.2. Eden Prairie. Minnesota: Coda Technology. 1992.

ClarisWorks ® for Macintosh. Version 5.0. Santa Clara. California: Claris Corporation, 1993.

72

APPENDIX A

FORM CHARTS

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APPENDIX B

TEXT AND TRANSLATION

Latin Text English Translation

(verse 1)

Lucis Creator optime,

Lucem dierum proferens,

Primordiis lucis novae

Mundi parans originem.

Blest Creator of the Light,

Making day with radiance bright.

Thou didst o'er the forming earth

Give the golden light its birth.

(verse 2)

Qui mane junctum vesperi

Diem vocari praecipis;

Illabitur tetrum chaos,

Audi preces cum fletibus.

Shade of eve with morning ray

Took from Thee the name of day:

Darkness now is drawing nigh.

Listen to our humble cry.

(refrain)

Gloria Patri.

et Filio et Spiritui Sancto.

Sicut erat in principio,

et nunc, et semper,

et in saecula saeculorum.

Amen.

Glory be to the Father.

the Son and Holy Ghost.

As it was in the beginning.

is now, and ever shall be.

worid without end.

Amen.

78

: i .h ..-...mrm^mmmi

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Agree (Permission is granted.)

"' ' - ^A.A •5.-4??-7g '•''/'/

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MmMnmmiiwniinilTi. n 111 V,i<MU3ro»HHTHinnnmfflmTOHJtlU4MMMUBUIIM»iM«^^i»B«^ .