| Phrase Number | Measures | Rhyme | Phrase |
|---|---|---|---|
| 1 | 1–4 | a | J’ai le fruit desiré, |
| 2 | 4–8 | b | Dont me doibtz contenter, |
| 3 | 8–11 | c | Je laisse les amours |
| 4 | 11–15 | b | Aux aultres lamenter, |
| 5 | 16–18 | d | Car mon bien ne pourroit |
| 6 | 18–21 | b | Pour nul bien augmenter, |
| 7 | 21–24 | e | Sur aultres n’ay envie, |
| 8 | 25–29 | f | Ainsi sera contente |
| 9 | 27–31 | e | Et heureuse ma vie. |
| Phrase | Measures | Analyst | Show details | |
|---|---|---|---|---|
| 1 | 1–3 | Herdman, Jessica | Expand | |
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| 1 | 1–3 | Holscher, Joshua | Expand | |
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| 1 | 1–3 | Quinn, Patrick | Expand | |
CommentsBass at octave below |
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| 1 | 2–4 | Herdman, Jessica | Expand | |
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| 1 | 2–4 | Quinn, Patrick | Expand | |
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| 1 | 3–4 | Quinn, Patrick | Expand | |
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| 1 | 3–4 | Romey, John | Expand | |
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| 1 | 3–4 | Herdman, Jessica | Expand | |
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| 2 | 4–6 | Holscher, Joshua | Expand | |
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| 2 | 4–5 | Quinn, Patrick | Expand | |
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| 2 | 4–7 | Herdman, Jessica | Expand | |
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| 2 | 4–6 | Romey, John | Expand | |
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| 2 | 4–6 | Quinn, Patrick | Expand | |
CommentsTenor at octave below |
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| 2 | 6–8 | Romey, John | Expand | |
Commentsno 2>1 in tenorizans |
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| 2 | 7–8 | Holscher, Joshua | Expand | |
CommentsIncomplete Cadence: Tenor does not descend from A, but rests instead. |
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| 2 | 7–8 | Quinn, Patrick | Expand | |
CommentsTenor missing on downbeat |
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| 2 | 7–8 | Herdman, Jessica | Expand | |
CommentsIncomplete cadence: T drops out to rest, rather than descending to G. |
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| 3 | 8–11 | Romey, John | Expand | |
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| 3 | 8–11 | Herdman, Jessica | Expand | |
CommentsVaried repeat: rhythm altered slightly to fit new text. |
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| 3 | 8–11 | Holscher, Joshua | Expand | |
CommentsVaried Repeat: Incipit note's duration cut in half. |
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| 3 | 8–11 | Quinn, Patrick | Expand | |
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| 4 | 11–15 | Herdman, Jessica | Expand | |
CommentsVaried repeat: different cadence. |
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| 4 | 11–15 | Quinn, Patrick | Expand | |
CommentsOnly change in repeat of phrase 4 is the final cadence is complete in the tenor in measure 15 |
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| 4 | 11–15 | Holscher, Joshua | Expand | |
CommentsVaried Repeat: Cadence is now completed. |
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| 4 | 11–15 | Romey, John | Expand | |
CommentsTenor 2>1 completes cadence to G that was avoided in phrase 2 |
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| 4 | 13–15 | Holscher, Joshua | Expand | |
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| 4 | 13–15 | Herdman, Jessica | Expand | |
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| 5 | 16–21 | Holscher, Joshua | Expand | |
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| 5 | 16–21 | Romey, John | Expand | |
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| 5 | 16–21 | Quinn, Patrick | Expand | |
Commentsmeter changes to triple |
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| 5 | 16–18 | Herdman, Jessica | Expand | |
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| 5 | 17–18 | Holscher, Joshua | Expand | |
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| 5 | 17–18 | Herdman, Jessica | Expand | |
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| 5 | 17–19 | Quinn, Patrick | Expand | |
CommentsS/B in 3/8 |
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| 5 | 17–19 | Romey, John | Expand | |
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| 5 | 17–18 | Holscher, Joshua | Expand | |
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| 5 | 19–21 | Quinn, Patrick | Expand | |
CommentsThe word augmenter is accompanied by immediately double duration notes. |
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| 6 | 18–21 | Holscher, Joshua | Expand | |
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| 6 | 19–21 | Herdman, Jessica | Expand | |
CommentsText representation of 'augmenter' with a shift (starting in phrase 6) to triple meter, and a hemiola on 'augmenter.' |
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| 6 | 19–21 | Herdman, Jessica | Expand | |
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| 6 | 19–19 | Romey, John | Expand | |
Commentson "Augmenter" longer notes under a ligature plus phrases 5 and 6 elided here |
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| 6 | 19–21 | Quinn, Patrick | Expand | |
CommentsThe word augmenter is spelled with immediately double duration notes. The flow of passages 5 and 6 make the two appear as one musical phrase. *disregard the previous entry labeling this as phrase 5* |
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| 6 | 20–21 | Romey, John | Expand | |
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| 6 | 20–21 | Quinn, Patrick | Expand | |
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| 6 | 20–21 | Herdman, Jessica | Expand | |
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| 6 | 20–21 | Holscher, Joshua | Expand | |
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| 7 | 21–23 | Herdman, Jessica | Expand | |
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| 7 | 21–23 | Quinn, Patrick | Expand | |
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| 7 | 21–23 | Romey, John | Expand | |
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| 7 | 22–23 | Quinn, Patrick | Expand | |
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| 7 | 23–24 | Herdman, Jessica | Expand | |
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| 7 | 23–24 | Quinn, Patrick | Expand | |
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| 7 | 23–24 | Romey, John | Expand | |
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| 7 | 23–24 | Holscher, Joshua | Expand | |
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| 8 | 23–29 | Holscher, Joshua | Expand | |
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| 8 | 23–25 | Herdman, Jessica | Expand | |
CommentsText representation: strange (counter?) representation of 'contente' with falling Romanesca pattern, including inflected Eflat. |
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| 8 | 24–25 | Herdman, Jessica | Expand | |
CommentsAlthough not at the end of a text phrase, the movement towards a cadence is relatively strong here with the Romanesca pattern descent (and the terminating poetic phrase overlaps with the following phrase). |
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| 8 | 24–26 | Romey, John | Expand | |
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| 8 | 24–26 | Quinn, Patrick | Expand | |
CommentsCt/B in 3/8 |
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| 8 | 25–27 | Holscher, Joshua | Expand | |
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| 9 | 23–29 | Herdman, Jessica | Expand | |
CommentsFinal (exact) repeat of both phrases 8-9. |
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| 9 | 25–28 | Herdman, Jessica | Expand | |
CommentsThe 'contente' of phrase 8 overlaps as part of the motivic material in phrase 9, with an elision contente-et. |
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| 9 | 25–28 | Quinn, Patrick | Expand | |
CommentsTenor at octave below |
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| 9 | 25–28 | Romey, John | Expand | |
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| 9 | 25–32 | Holscher, Joshua | Expand | |
CommentsFinal note is sustained for twice its original value. |
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| 9 | 26–26 | Herdman, Jessica | Expand | |
CommentsMelisma on 'heureuse' in Ct. |
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| 9 | 27–29 | Quinn, Patrick | Expand | |
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| 9 | 27–29 | Herdman, Jessica | Expand | |
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| 9 | 27–28 | Quinn, Patrick | Expand | |
CommentsCt/B in 3/8 |
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| 9 | 27–30 | Holscher, Joshua | Expand | |
CommentsText Enjambment and Overlap |
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| 9 | 27–29 | Romey, John | Expand | |
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| 9 | 27–29 | Holscher, Joshua | Expand | |
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| 9 | 28–28 | Quinn, Patrick | Expand | |
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