| Phrase Number | Measures | Rhyme | Phrase |
|---|---|---|---|
| 1 | 1–7 | a | Qui souhaitez avoir tout le plaisir |
| 2 | 7–13 | b | Qu’un amy peult vouloir honnestement |
| 3 | 1–7 | a | Prenez exemple à mon chaste desir |
| 4 | 7–14 | b | Et vous mirez en mon contentement. |
| 5 | 14–17 | b | Mais qui vouldroit audacieusement |
| 6 | 17–22 | c | Voler au ciel ou mon amour se tient, |
| 7 | 23–26 | b | On luy diroit aymez humainement. |
| 8 | 26–34 | c | C’est au soleil que la lune appartient. |
| Phrase | Measures | Analyst | Show details | |
|---|---|---|---|---|
| 1 | 1–1 | Freedman, Richard | Expand | |
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| 1 | 1–3 | Apgar, Jamie | Expand | |
CommentsThis is a correction to analysis spreadsheet line 1805. |
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| 1 | 1–1 | Freedman, Richard | Expand | |
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| 1 | 1–3 | Quinn, Patrick | Expand | |
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| 1 | 1–3 | Apgar, Jamie | Expand | |
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| 1 | 1–4 | Herdman, Jessica | Expand | |
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| 1 | 3–3 | Apgar, Jamie | Expand | |
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| 1 | 3–6 | Apgar, Jamie | Expand | |
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| 1 | 4–5 | Apgar, Jamie | Expand | |
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| 1 | 4–5 | Herdman, Jessica | Expand | |
CommentsText representation: "plaisir" (and also "desir", in phrase 3, at the same musical moment) in a long melisma in B. |
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| 1 | 4–6 | Quinn, Patrick | Expand | |
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| 1 | 5–7 | Herdman, Jessica | Expand | |
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| 1 | 5–6 | Apgar, Jamie | Expand | |
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| 1 | 6–7 | Quinn, Patrick | Expand | |
CommentsSense of cadence on D in measures 4-5, however no LT in Tenor, interrupted by Ct stating next line while also evading the root by going 2>3. Very weak, but still present. |
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| 1 | 6–7 | Apgar, Jamie | Expand | |
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| 1 | 6–7 | Herdman, Jessica | Expand | |
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| 1 | 6–7 | Apgar, Jamie | Expand | |
CommentsTenor melisma on "plaisir" is the TEXT REP |
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| 2 | 7–8 | Quinn, Patrick | Expand | |
CommentsAlso an instance of HR stagger with the T entering early |
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| 2 | 8–9 | Apgar, Jamie | Expand | |
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| 2 | 9–10 | Herdman, Jessica | Expand | |
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| 2 | 9–11 | Apgar, Jamie | Expand | |
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| 2 | 10–11 | Quinn, Patrick | Expand | |
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| 2 | 10–12 | Apgar, Jamie | Expand | |
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| 2 | 10–11 | Herdman, Jessica | Expand | |
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| 2 | 11–12 | Apgar, Jamie | Expand | |
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| 2 | 12–13 | Quinn, Patrick | Expand | |
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| 2 | 12–13 | Apgar, Jamie | Expand | |
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| 2 | 12–13 | Herdman, Jessica | Expand | |
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| 3 | 1–7 | Apgar, Jamie | Expand | |
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| 3 | 1–7 | Quinn, Patrick | Expand | |
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| 3 | 1–7 | Herdman, Jessica | Expand | |
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| 4 | 7–13 | Quinn, Patrick | Expand | |
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| 4 | 7–13 | Apgar, Jamie | Expand | |
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| 4 | 9–13 | Herdman, Jessica | Expand | |
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| 5 | 13–14 | Apgar, Jamie | Expand | |
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| 5 | 13–14 | Herdman, Jessica | Expand | |
CommentsText representation: extreme melisma in T on "audacieuse" (mm 13-16). |
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| 5 | 13–14 | Quinn, Patrick | Expand | |
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| 5 | 13–13 | Quinn, Patrick | Expand | |
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| 5 | 15–16 | Apgar, Jamie | Expand | |
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| 5 | 15–16 | Quinn, Patrick | Expand | |
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| 5 | 16–17 | Apgar, Jamie | Expand | |
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| 6 | 16–17 | Quinn, Patrick | Expand | |
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| 6 | 17–19 | Apgar, Jamie | Expand | |
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| 6 | 17–19 | Quinn, Patrick | Expand | |
CommentsT/B have syncopation in middle (m. 18) which provides a moment of break between alternating 3/8 |
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| 6 | 17–20 | Herdman, Jessica | Expand | |
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| 6 | 18–22 | Herdman, Jessica | Expand | |
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| 6 | 19–20 | Quinn, Patrick | Expand | |
CommentsCt/B in 3/8 |
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| 6 | 20–22 | Quinn, Patrick | Expand | |
CommentsNot quite romanesca because Bass resolves up to E instead of down to A, making it a quasi deceptive Romanesca |
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| 6 | 21–22 | Apgar, Jamie | Expand | |
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| 6 | 21–22 | Herdman, Jessica | Expand | |
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| 6 | 21–22 | Quinn, Patrick | Expand | |
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| 6 | 21–22 | Apgar, Jamie | Expand | |
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| 7 | 23–25 | Quinn, Patrick | Expand | |
CommentsCt/B in 3/8 |
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| 7 | 23–26 | Apgar, Jamie | Expand | |
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| 7 | 23–24 | Apgar, Jamie | Expand | |
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| 7 | 23–23 | Quinn, Patrick | Expand | |
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| 7 | 23–23 | Herdman, Jessica | Expand | |
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| 7 | 23–26 | Herdman, Jessica | Expand | |
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| 7 | 25–26 | Herdman, Jessica | Expand | |
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| 7 | 25–26 | Apgar, Jamie | Expand | |
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| 7 | 25–26 | Apgar, Jamie | Expand | |
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| 7 | 25–26 | Quinn, Patrick | Expand | |
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| 8 | 26–29 | Apgar, Jamie | Expand | |
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| 8 | 26–27 | Quinn, Patrick | Expand | |
CommentsTenor preceeds other voices |
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| 8 | 27–30 | Quinn, Patrick | Expand | |
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| 8 | 28–29 | Herdman, Jessica | Expand | |
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| 8 | 30–31 | Apgar, Jamie | Expand | |
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| 8 | 30–31 | Quinn, Patrick | Expand | |
Commentssyncopation in S/Ct gives hint of parallel 3rds |
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| 8 | 30–31 | Herdman, Jessica | Expand | |
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| 8 | 30–31 | Apgar, Jamie | Expand | |
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| 8 | 31–34 | Herdman, Jessica | Expand | |
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| 8 | 31–32 | Apgar, Jamie | Expand | |
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| 8 | 32–34 | Quinn, Patrick | Expand | |
CommentsMeasure 33 has cross relation B-flat in Bass directly below a B(natural) in Ct |
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| 8 | 32–33 | Apgar, Jamie | Expand | |
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| 8 | 33–34 | Quinn, Patrick | Expand | |
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| 8 | 33–34 | Apgar, Jamie | Expand | |
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| 8 | 33–34 | Herdman, Jessica | Expand | |
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