The Lost Voices Project

Companion resource to Les livres de Chansons Nouvelles de Nicolas Du Chemin (1549–1568), hosted by the Centre d’Études Supérieures de la Renaissance in Tours, France

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Babcock, Stuart

Analyses

Measures Piece Phrase Number
1–3 Quand contremont voirras retourner loyre 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Superius
Voice Role (Dux 2)
Tenor
Voice Role (@4)
Superius
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
2–6 Quand contremont voirras retourner loyre 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Bassus
Voice Role (@4)
Bassus
3–4 Quand contremont voirras retourner loyre 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
3–4 Quand contremont voirras retourner loyre 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
6–6 Quand contremont voirras retourner loyre 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
5–6 Quand contremont voirras retourner loyre 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Overlap
7–10 Quand contremont voirras retourner loyre 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
8–9 Quand contremont voirras retourner loyre 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
9–10 Quand contremont voirras retourner loyre 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
10–11 Quand contremont voirras retourner loyre 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (@1 or @8)
Tenor
Other Counterpoint
Stretto Fuga
11–14 Quand contremont voirras retourner loyre 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
13–14 Quand contremont voirras retourner loyre 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
14–16 Quand contremont voirras retourner loyre 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Tenor
Voice Role (@1 or @8)
Tenor
17–17 Quand contremont voirras retourner loyre 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
17–18 Quand contremont voirras retourner loyre 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
18–19 Quand contremont voirras retourner loyre 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
19–20 Quand contremont voirras retourner loyre 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
20–21 Quand contremont voirras retourner loyre 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
22–25 Quand contremont voirras retourner loyre 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
24–25 Quand contremont voirras retourner loyre 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
25–32 Quand contremont voirras retourner loyre 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
4
Repeat, Exact or Varied?

Comments

The music from 18-25 is repeated. The repeated is indicated by a repeat sign in the bassus, while the other voices are fully realized.
1–7 Elle voyant approcher mon départ 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
4–6 Elle voyant approcher mon départ 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Stagger
4–7 Elle voyant approcher mon départ 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
3–6 Elle voyant approcher mon départ 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Contratenor
Voice Role (@1 or @8)
Contratenor
6–7 Elle voyant approcher mon départ 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
7–8 Elle voyant approcher mon départ 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Stagger
7–9 Elle voyant approcher mon départ 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
9–12 Elle voyant approcher mon départ 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
11–12 Elle voyant approcher mon départ 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
11–12 Elle voyant approcher mon départ 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
12–13 Elle voyant approcher mon départ 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
12–15 Elle voyant approcher mon départ 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Stagger
13–15 Elle voyant approcher mon départ 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
16–17 Elle voyant approcher mon départ 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
20–21 Elle voyant approcher mon départ 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
21–23 Elle voyant approcher mon départ 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
22–22 Elle voyant approcher mon départ 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
22–22 Elle voyant approcher mon départ 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
22–24 Elle voyant approcher mon départ 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
17–26 Elle voyant approcher mon départ 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
4
Repeat, Exact or Varied?
24–25 Elle voyant approcher mon départ 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Pause
1–4 Or à ce jour le verd may se termine 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Voice Role (Upper Voice 1 NIM)
Superius
Voice Role (Lower Voice 1 NIM)
Contratenor
Voice Role (Upper Voice 2 NIM)
Tenor
Voice Role (Lower Voice 2 NIM)
Bassus
4–5 Or à ce jour le verd may se termine 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
5–6 Or à ce jour le verd may se termine 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
7–7 Or à ce jour le verd may se termine 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
7–9 Or à ce jour le verd may se termine 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
11–13 Or à ce jour le verd may se termine 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
12–13 Or à ce jour le verd may se termine 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
13–14 Or à ce jour le verd may se termine 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Declamation
13–15 Or à ce jour le verd may se termine 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
17–18 Or à ce jour le verd may se termine 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
18–19 Or à ce jour le verd may se termine 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Stagger
19–20 Or à ce jour le verd may se termine 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
20–21 Or à ce jour le verd may se termine 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
21–21 Or à ce jour le verd may se termine 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
22–25 Or à ce jour le verd may se termine 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
24–25 Or à ce jour le verd may se termine 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
26–26 Or à ce jour le verd may se termine 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
27–28 Or à ce jour le verd may se termine 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
27–29 Or à ce jour le verd may se termine 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
28–29 Or à ce jour le verd may se termine 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
29–30 Or à ce jour le verd may se termine 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Overlap
29–32 Or à ce jour le verd may se termine 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (@1 or @8)
Tenor
Other Counterpoint
Stretto Fuga

Comments

The melody in the contratenor beginning in measure 29 hints at the the melody used in the free imitation, though it leaps up a perfect fourth instead of a minor third and proceeds to go in a different direction than the melody used in the free imitation.
31–32 Or à ce jour le verd may se termine 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
32–35 Or à ce jour le verd may se termine 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Contratenor
Voice Role (Dux 2)
Tenor
Voice Role (Comes 2)
Superius
Voice Role (@1 or @8)
Contratenor

Comments

The iterated melody is very similar to that used in the previous free imitation.
35–36 Or à ce jour le verd may se termine 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
36–37 Or à ce jour le verd may se termine 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
36–37 Or à ce jour le verd may se termine 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Overlap
39–40 Or à ce jour le verd may se termine 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
40–41 Or à ce jour le verd may se termine 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
41–42 Or à ce jour le verd may se termine 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
42–43 Or à ce jour le verd may se termine 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
46–46 Or à ce jour le verd may se termine 9 Details
Analysis ID
Analyst
127
Is Cadence?
No
46–47 Or à ce jour le verd may se termine 9 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
46–47 Or à ce jour le verd may se termine 9 Details
Analysis ID
Analyst
127
Is Cadence?
No
47–47 Or à ce jour le verd may se termine 9 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Enjambment
47–48 Or à ce jour le verd may se termine 10 Details
Analysis ID
Analyst
127
Is Cadence?
No
47–50 Or à ce jour le verd may se termine 10 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
49–50 Or à ce jour le verd may se termine 10 Details
Analysis ID
Analyst
127
Is Cadence?
No
50–51 Or à ce jour le verd may se termine 11 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Stagger
51–51 Or à ce jour le verd may se termine 11 Details
Analysis ID
Analyst
127
Is Cadence?
No
53–54 Or à ce jour le verd may se termine 11 Details
Analysis ID
Analyst
127
Is Cadence?
No
54–55 Or à ce jour le verd may se termine 11 Details
Analysis ID
Analyst
127
Is Cadence?
No
55–55 Or à ce jour le verd may se termine 11 Details
Analysis ID
Analyst
127
Is Cadence?
No
56–57 Or à ce jour le verd may se termine 11 Details
Analysis ID
Analyst
127
Is Cadence?
No
43–47 Or à ce jour le verd may se termine 9 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
9
Repeat, Exact or Varied?
47–50 Or à ce jour le verd may se termine 10 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
10
Repeat, Exact or Varied?
50–58 Or à ce jour le verd may se termine 11 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
11
Repeat, Exact or Varied?
1–2 Où est ce temps, dictes, mademoiselle 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
2–3 Où est ce temps, dictes, mademoiselle 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Stagger
3–5 Où est ce temps, dictes, mademoiselle 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (Dux 2)
Bassus
Voice Role (@1 or @8)
Tenor
Other Counterpoint
Stretto Fuga
4–5 Où est ce temps, dictes, mademoiselle 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Contratenor

Comments

The Dux I (bassus) is the same melody as the Dux II in the preceding PEn.
4–5 Où est ce temps, dictes, mademoiselle 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
5–5 Où est ce temps, dictes, mademoiselle 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
6–6 Où est ce temps, dictes, mademoiselle 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
6–7 Où est ce temps, dictes, mademoiselle 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Tenor
Voice Role (@1 or @8)
Tenor

Comments

The melody in in this FI is the same as that used in the previous PEn and FI.
7–8 Où est ce temps, dictes, mademoiselle 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
9–10 Où est ce temps, dictes, mademoiselle 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
10–12 Où est ce temps, dictes, mademoiselle 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
11–11 Où est ce temps, dictes, mademoiselle 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
12–13 Où est ce temps, dictes, mademoiselle 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
13–13 Où est ce temps, dictes, mademoiselle 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Pause
1–8 Où est ce temps, dictes, mademoiselle 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
8–14 Où est ce temps, dictes, mademoiselle 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
14–16 Où est ce temps, dictes, mademoiselle 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
15–16 Où est ce temps, dictes, mademoiselle 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
16–17 Où est ce temps, dictes, mademoiselle 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
17–20 Où est ce temps, dictes, mademoiselle 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Contratenor
Voice Role (Dux 2)
Tenor
Voice Role (Comes 2)
Bassus
Voice Role (@4)
Contratenor
Other Counterpoint
Stretto Fuga
18–19 Où est ce temps, dictes, mademoiselle 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
19–20 Où est ce temps, dictes, mademoiselle 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
21–22 Où est ce temps, dictes, mademoiselle 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Bassus
Voice Role (@1 or @8)
Bassus
22–23 Où est ce temps, dictes, mademoiselle 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
23–23 Où est ce temps, dictes, mademoiselle 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
23–25 Où est ce temps, dictes, mademoiselle 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
24–24 Où est ce temps, dictes, mademoiselle 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
26–27 Où est ce temps, dictes, mademoiselle 7 Details
Analysis ID
Analyst
127
Is Cadence?
No

Comments

This NoCadence is very similar to the double leading tone cadence used in 14th and 15th century music.
27–30 Où est ce temps, dictes, mademoiselle 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
PEn Stacked
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Tenor
Voice Role (Dux 2)
Contratenor
Voice Role (Comes 2)
Bassus
Voice Role (@5)
Tenor
Other Counterpoint
Invertible Counterpoint, Stretto Fuga

Comments

There are two successive entries on G (in Dux II and Comes II) before continuing the pattern of entries @5 above. The contratenor continues the pattern as Dux III.
30–31 Où est ce temps, dictes, mademoiselle 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
32–33 Où est ce temps, dictes, mademoiselle 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
33–35 Où est ce temps, dictes, mademoiselle 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Pause
35–42 Où est ce temps, dictes, mademoiselle 9 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
42–48 Où est ce temps, dictes, mademoiselle 10 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
35–42 Où est ce temps, dictes, mademoiselle 9 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
9
Repeat, Exact or Varied?
42–48 Où est ce temps, dictes, mademoiselle 10 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
10
Repeat, Exact or Varied?
14–15 Ce n'est poinct moy, mon oeil, qui te travaille 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
14–15 Ce n'est poinct moy, mon oeil, qui te travaille 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
1–4 Quand tant me mectz devant mes yeulx 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Dance
4–7 Quand tant me mectz devant mes yeulx 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
5–7 Quand tant me mectz devant mes yeulx 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
3–4 Quand tant me mectz devant mes yeulx 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
7–1 Quand tant me mectz devant mes yeulx 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Pause
1–4 Quand tant me mectz devant mes yeulx 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
4–8 Quand tant me mectz devant mes yeulx 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
8–9 Quand tant me mectz devant mes yeulx 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (@1 or @8)
Superius
10–11 Quand tant me mectz devant mes yeulx 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
10–11 Quand tant me mectz devant mes yeulx 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Overlap
11–15 Quand tant me mectz devant mes yeulx 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
11–12 Quand tant me mectz devant mes yeulx 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Tenor
Voice Role (@5)
Tenor
Other Counterpoint
Stretto Fuga
11–13 Quand tant me mectz devant mes yeulx 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Superius
Voice Role (@5)
Superius
Other Counterpoint
Stretto Fuga

Comments

This FI coupled with the previous FI almost form a PEn.
14–15 Quand tant me mectz devant mes yeulx 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Overlap
14–15 Quand tant me mectz devant mes yeulx 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
14–16 Quand tant me mectz devant mes yeulx 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Tenor
Voice Role (@4)
Tenor

Comments

The entrance of the tenor is a minor third below that of the contratenor, but it proceeds @4 below.
16–17 Quand tant me mectz devant mes yeulx 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
16–17 Quand tant me mectz devant mes yeulx 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Overlap
17–19 Quand tant me mectz devant mes yeulx 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Bassus
Voice Role (Dux 2)
Contratenor
Voice Role (@5)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
18–20 Quand tant me mectz devant mes yeulx 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Superius
Voice Role (Dux 2)
Tenor
Voice Role (@5)
Superius
Other Counterpoint
Invertible Counterpoint, Stretto Fuga

Comments

Dux I is also Dux II in the previous PEn.
18–18 Quand tant me mectz devant mes yeulx 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
18–19 Quand tant me mectz devant mes yeulx 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
20–20 Quand tant me mectz devant mes yeulx 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
20–22 Quand tant me mectz devant mes yeulx 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
18–19 Quand tant me mectz devant mes yeulx 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
8–11 Quand tant me mectz devant mes yeulx 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
5
Repeat, Exact or Varied?
10–15 Quand tant me mectz devant mes yeulx 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
6
Repeat, Exact or Varied?
14–17 Quand tant me mectz devant mes yeulx 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
7
Repeat, Exact or Varied?
16–23 Quand tant me mectz devant mes yeulx 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
8
Repeat, Exact or Varied?
1–3 Ce n'est poinct moy, mon oeil, qui te travaille 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
3–3 Ce n'est poinct moy, mon oeil, qui te travaille 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
4–6 Ce n'est poinct moy, mon oeil, qui te travaille 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
4–5 Ce n'est poinct moy, mon oeil, qui te travaille 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
5–6 Ce n'est poinct moy, mon oeil, qui te travaille 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
1–3 Ce n'est poinct moy, mon oeil, qui te travaille 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
4–6 Ce n'est poinct moy, mon oeil, qui te travaille 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
7–9 Ce n'est poinct moy, mon oeil, qui te travaille 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (@5)
Tenor
8–9 Ce n'est poinct moy, mon oeil, qui te travaille 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
8–9 Ce n'est poinct moy, mon oeil, qui te travaille 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
10–12 Ce n'est poinct moy, mon oeil, qui te travaille 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
11–12 Ce n'est poinct moy, mon oeil, qui te travaille 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
12–12 Ce n'est poinct moy, mon oeil, qui te travaille 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
12–15 Ce n'est poinct moy, mon oeil, qui te travaille 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
13–13 Ce n'est poinct moy, mon oeil, qui te travaille 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
13–13 Ce n'est poinct moy, mon oeil, qui te travaille 7 Details
Analysis ID
Analyst
127
Is Cadence?
No

Comments

This parallel motion coupled with the parallel thirds between the superius and contratenor combine to yield parallel fifths between the superius and the tenor.
16–17 Ce n'est poinct moy, mon oeil, qui te travaille 8 Details
Analysis ID
Analyst
127
Is Cadence?
No

Comments

The superius moves 2>3 instead of 2>1.
15–21 Ce n'est poinct moy, mon oeil, qui te travaille 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (@1 or @8)
Tenor

Comments

While the tenor enters @9 below, the rest of the melody is at the octave.
17–18 Ce n'est poinct moy, mon oeil, qui te travaille 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
20–21 Ce n'est poinct moy, mon oeil, qui te travaille 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
23–24 Ce n'est poinct moy, mon oeil, qui te travaille 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
24–26 Ce n'est poinct moy, mon oeil, qui te travaille 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
8
Repeat, Exact or Varied?

Comments

The variation occurs only in measures 24-25, before the repeat sign which returns the music to measure 17.
1–5 Si m'amie a de fermeté 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (@1 or @8)
Tenor
2–2 Si m'amie a de fermeté 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
4–5 Si m'amie a de fermeté 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Formulas
Romanesca
4–5 Si m'amie a de fermeté 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Overlap
4–7 Si m'amie a de fermeté 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (@1 or @8)
Tenor
5–5 Si m'amie a de fermeté 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
7–8 Si m'amie a de fermeté 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
8–9 Si m'amie a de fermeté 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
9–5 Si m'amie a de fermeté 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?

Comments

The variation occurs in measures 9-10, where the tenor anticipates the melody given in the superius.
4–11 Si m'amie a de fermeté 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
19–21 Si m'amie a de fermeté 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Superius
Voice Role (Dux 2)
Tenor
Voice Role (Comes 2)
Bassus
Voice Role (@1 or @8)
Superius
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
11–13 Si m'amie a de fermeté 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
13–14 Si m'amie a de fermeté 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
15–17 Si m'amie a de fermeté 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Superius
Voice Role (@1 or @8)
Superius

Comments

The melody used here is very similar to that used in the previous FI in measures 11-13, though without the first two notes.
16–17 Si m'amie a de fermeté 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
18–19 Si m'amie a de fermeté 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
21–23 Si m'amie a de fermeté 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Stagger
22–23 Si m'amie a de fermeté 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
23–27 Si m'amie a de fermeté 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
27–28 Si m'amie a de fermeté 7 Details
Analysis ID
Analyst
127
Is Cadence?
No

Comments

The superius moves 7>3 instead of 7>8 and begins the new phrase upon landing on the 3.
28–30 Si m'amie a de fermeté 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Contratenor
Voice Role (Dux 2)
Bassus
Voice Role (Comes 2)
Tenor
Voice Role (@1 or @8)
Contratenor
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
32–33 Si m'amie a de fermeté 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
33–38 Si m'amie a de fermeté 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Da Capo
Earlier Phrase
8
Repeat, Exact or Varied?

Comments

The only variation occurs in measure 33 (corresponding to measure 28) in the superius.
38–39 Si m'amie a de fermeté 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Pause
28–40 Si m'amie a de fermeté 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
8
Repeat, Exact or Varied?
1–3 Qui veult sçavoyr quelle est m'amye 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Contratenor
Voice Role (Dux 2)
Bassus
Voice Role (Comes 2)
Superius
Voice Role (@1 or @8)
Contratenor
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
2–3 Qui veult sçavoyr quelle est m'amye 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (@4)
Tenor
Other Counterpoint
Stretto Fuga

Comments

There is an entrance by the bassus in measure three that appears to indicate a PEn, but it acts as a false entrance for the bassus part beginning in measure 4.
3–3 Qui veult sçavoyr quelle est m'amye 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
3–5 Qui veult sçavoyr quelle est m'amye 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
3–5 Qui veult sçavoyr quelle est m'amye 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Overlap
5–8 Qui veult sçavoyr quelle est m'amye 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Bassus
Voice Role (@4)
Bassus
Other Counterpoint
Stretto Fuga
6–10 Qui veult sçavoyr quelle est m'amye 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
10–12 Qui veult sçavoyr quelle est m'amye 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Tenor
Voice Role (@5)
Tenor
Other Counterpoint
Stretto Fuga
12–13 Qui veult sçavoyr quelle est m'amye 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
13–18 Qui veult sçavoyr quelle est m'amye 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?

Comments

Note lengths are sometimes divided so as to fit in two syllables where only one was previously. Sometimes extra notes are added to cover this as well.
16–26 Qui veult sçavoyr quelle est m'amye 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
29–30 Qui veult sçavoyr quelle est m'amye 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
30–35 Qui veult sçavoyr quelle est m'amye 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Dance
32–35 Qui veult sçavoyr quelle est m'amye 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
34–35 Qui veult sçavoyr quelle est m'amye 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
35–37 Qui veult sçavoyr quelle est m'amye 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Bassus
Voice Role (Dux 2)
Contratenor
Voice Role (@5)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga

Comments

The superius line in measure 35 initially appears to be part of the PEn, but does not follow the pattern indicated.
36–37 Qui veult sçavoyr quelle est m'amye 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
38–40 Qui veult sçavoyr quelle est m'amye 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Bassus
Voice Role (@1 or @8)
Bassus
Other Counterpoint
Stretto Fuga

Comments

The contratenor entrance in 39 appears to act as a third entrance, creating a PEn, but the melody proceeds in a way that does not match the contour of the first two entrances.
40–41 Qui veult sçavoyr quelle est m'amye 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
40–41 Qui veult sçavoyr quelle est m'amye 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Overlap
41–41 Qui veult sçavoyr quelle est m'amye 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
47–48 Qui veult sçavoyr quelle est m'amye 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
1–2 Je ne suis devin ne prophète 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
2–2 Je ne suis devin ne prophète 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
2–3 Je ne suis devin ne prophète 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
Other Formulas
Romanesca
4–5 Je ne suis devin ne prophète 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
1–2 Je ne suis devin ne prophète 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
2–6 Je ne suis devin ne prophète 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
6–9 Je ne suis devin ne prophète 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Dance
10–11 Je ne suis devin ne prophète 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
11–12 Je ne suis devin ne prophète 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
12–13 Je ne suis devin ne prophète 6 Details
Analysis ID
Analyst
127
Is Cadence?
No

Comments

The tenorizans moves 2>3 instead of 2>1.
13–15 Je ne suis devin ne prophète 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
16–17 Je ne suis devin ne prophète 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?

Comments

The superius line is different by one note in measure 16 and the final note of this phrase is held for twice as long.
17–19 Je ne suis devin ne prophète 9 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Stagger
19–20 Je ne suis devin ne prophète 9 Details
Analysis ID
Analyst
127
Is Cadence?
No
20–21 Je ne suis devin ne prophète 10 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
Other Formulas
Romanesca
21–22 Je ne suis devin ne prophète 10 Details
Analysis ID
Analyst
127
Is Cadence?
No
1–2 Un bon vieillard qui n'avoit que le bec 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
2–3 Un bon vieillard qui n'avoit que le bec 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Superius
Voice Role (Dux 2)
Bassus
Voice Role (@1 or @8)
Superius
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
4–5 Un bon vieillard qui n'avoit que le bec 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
5–7 Un bon vieillard qui n'avoit que le bec 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Bassus
Voice Role (@5)
Bassus
6–6 Un bon vieillard qui n'avoit que le bec 2 Details
Analysis ID
Analyst
127
Is Cadence?
No

Comments

Between the tenor and the bassus we have a rare case of parallel octaves.
9–9 Un bon vieillard qui n'avoit que le bec 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
9–11 Un bon vieillard qui n'avoit que le bec 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
11–1 Un bon vieillard qui n'avoit que le bec 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Pause
1–5 Un bon vieillard qui n'avoit que le bec 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
5–12 Un bon vieillard qui n'avoit que le bec 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
15–16 Un bon vieillard qui n'avoit que le bec 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
16–18 Un bon vieillard qui n'avoit que le bec 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Dance
19–21 Un bon vieillard qui n'avoit que le bec 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Bassus
Voice Role (Dux 2)
Superius
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
20–21 Un bon vieillard qui n'avoit que le bec 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
20–21 Un bon vieillard qui n'avoit que le bec 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Overlap
21–22 Un bon vieillard qui n'avoit que le bec 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
23–24 Un bon vieillard qui n'avoit que le bec 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
20–24 Un bon vieillard qui n'avoit que le bec 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Representation

Comments

"More than a hundred times" is repeated, and each time ends with a cadential figure.
24–26 Un bon vieillard qui n'avoit que le bec 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
25–26 Un bon vieillard qui n'avoit que le bec 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
28–31 Un bon vieillard qui n'avoit que le bec 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
30–31 Un bon vieillard qui n'avoit que le bec 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
31–32 Un bon vieillard qui n'avoit que le bec 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Pause
32–36 Un bon vieillard qui n'avoit que le bec 9 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Dance
32–34 Un bon vieillard qui n'avoit que le bec 9 Details
Analysis ID
Analyst
127
Is Cadence?
No
35–36 Un bon vieillard qui n'avoit que le bec 9 Details
Analysis ID
Analyst
127
Is Cadence?
No
36–41 Un bon vieillard qui n'avoit que le bec 10 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Bassus
Voice Role (Dux 2)
Superius
Voice Role (Comes 2)
Contratenor
Voice Role (@1 or @8)
Bassus
Other Counterpoint
Invertible Counterpoint
40–42 Un bon vieillard qui n'avoit que le bec 10 Details
Analysis ID
Analyst
127
Is Cadence?
No
42–43 Un bon vieillard qui n'avoit que le bec 10 Details
Analysis ID
Analyst
127
Is Cadence?
No
43–51 Un bon vieillard qui n'avoit que le bec 10 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
10
Repeat, Exact or Varied?
1–4 Sur l'aubépin qui est en fleur 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Superius
Voice Role (Dux 2)
Tenor
Voice Role (@1 or @8)
Superius
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
1–2 Sur l'aubépin qui est en fleur 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
3–4 Sur l'aubépin qui est en fleur 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
3–4 Sur l'aubépin qui est en fleur 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
3–5 Sur l'aubépin qui est en fleur 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (@1 or @8)
Tenor
3–4 Sur l'aubépin qui est en fleur 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Overlap
6–7 Sur l'aubépin qui est en fleur 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Tenor
Voice Role (@5)
Tenor
Voice Role (Above)
Tenor
Other Counterpoint
Stretto Fuga
7–8 Sur l'aubépin qui est en fleur 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
8–9 Sur l'aubépin qui est en fleur 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Tenor
Other Counterpoint
Stretto Fuga
9–10 Sur l'aubépin qui est en fleur 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
10–11 Sur l'aubépin qui est en fleur 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Contratenor
Voice Role (Dux 2)
Superius
Voice Role (Comes 2)
Tenor
Voice Role (@1 or @8)
Contratenor
Voice Role (Above)
Contratenor
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
13–14 Sur l'aubépin qui est en fleur 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
11–14 Sur l'aubépin qui est en fleur 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?

Comments

There are slight variances in the superius line in measure 13 (which corresponds to measure 3).
13–20 Sur l'aubépin qui est en fleur 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?

Comments

The main change is the division of note lengths to accommodate different numbers of syllables.
8–10 Sur l'aubépin qui est en fleur 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Da Capo
Earlier Phrase
2
Repeat, Exact or Varied?

Comments

The difference is divided note lengths to account for more syllables. This corresponds to measures 6-8.
20–22 Sur l'aubépin qui est en fleur 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
20–23 Sur l'aubépin qui est en fleur 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (@1 or @8)
Tenor
Voice Role (Below)
Tenor
22–24 Sur l'aubépin qui est en fleur 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
25–25 Sur l'aubépin qui est en fleur 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
25–28 Sur l'aubépin qui est en fleur 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Bassus
Voice Role (@5)
Bassus
Voice Role (Below)
Bassus
28–28 Sur l'aubépin qui est en fleur 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
29–32 Sur l'aubépin qui est en fleur 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Bassus
Voice Role (@5)
Bassus
Other Counterpoint
Stretto Fuga
32–32 Sur l'aubépin qui est en fleur 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
33–35 Sur l'aubépin qui est en fleur 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
35–37 Sur l'aubépin qui est en fleur 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
38–39 Sur l'aubépin qui est en fleur 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
38–40 Sur l'aubépin qui est en fleur 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Bassus
Voice Role (@5)
Bassus
Other Counterpoint
Stretto Fuga
44–45 Sur l'aubépin qui est en fleur 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
46–32 Sur l'aubépin qui est en fleur 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
7
Repeat, Exact or Varied?

Comments

The first chord on the word "Mais" is different, but that is the only change.
32–47 Sur l'aubépin qui est en fleur 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
8
Repeat, Exact or Varied?
1–3 Puisque voulez que de vous je m'absente 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Tenor
Voice Role (@1 or @8)
Tenor
Other Counterpoint
Stretto Fuga
2–3 Puisque voulez que de vous je m'absente 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
4–6 Puisque voulez que de vous je m'absente 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Stagger
5–7 Puisque voulez que de vous je m'absente 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
6–9 Puisque voulez que de vous je m'absente 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Tenor
Voice Role (Dux 2)
Superius
Voice Role (Comes 2)
Bassus
Voice Role (@1 or @8)
Tenor
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
8–10 Puisque voulez que de vous je m'absente 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
10–11 Puisque voulez que de vous je m'absente 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
11–11 Puisque voulez que de vous je m'absente 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Pause
11–14 Puisque voulez que de vous je m'absente 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Dactyll
13–14 Puisque voulez que de vous je m'absente 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Formulas
Romanesca
14–16 Puisque voulez que de vous je m'absente 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Stagger
17–17 Puisque voulez que de vous je m'absente 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
18–18 Puisque voulez que de vous je m'absente 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
18–19 Puisque voulez que de vous je m'absente 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Stagger
20–21 Puisque voulez que de vous je m'absente 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
21–21 Puisque voulez que de vous je m'absente 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
21–24 Puisque voulez que de vous je m'absente 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
23–24 Puisque voulez que de vous je m'absente 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
25–27 Puisque voulez que de vous je m'absente 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
26–27 Puisque voulez que de vous je m'absente 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
27–28 Puisque voulez que de vous je m'absente 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
31–33 Puisque voulez que de vous je m'absente 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
32–33 Puisque voulez que de vous je m'absente 7 Details
Analysis ID
Analyst
127
Is Cadence?
No

Comments

The tenorizans (contratenor) moves 2>3 instead of 2>1.
33–33 Puisque voulez que de vous je m'absente 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Pause
33–36 Puisque voulez que de vous je m'absente 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Dactyll
35–35 Puisque voulez que de vous je m'absente 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Pause
35–38 Puisque voulez que de vous je m'absente 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
37–38 Puisque voulez que de vous je m'absente 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Formulas
Romanesca
37–39 Puisque voulez que de vous je m'absente 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
39–39 Puisque voulez que de vous je m'absente 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Pause
39–40 Puisque voulez que de vous je m'absente 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
8
Repeat, Exact or Varied?
1–3 Et vray Dieu, qu'il m'ennuye 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
1–2 Et vray Dieu, qu'il m'ennuye 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Formulas
Romanesca
2–3 Et vray Dieu, qu'il m'ennuye 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
4–5 Et vray Dieu, qu'il m'ennuye 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Stagger
5–6 Et vray Dieu, qu'il m'ennuye 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
6–1 Et vray Dieu, qu'il m'ennuye 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Pause
1–3 Et vray Dieu, qu'il m'ennuye 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
3–7 Et vray Dieu, qu'il m'ennuye 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
7–8 Et vray Dieu, qu'il m'ennuye 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
7–9 Et vray Dieu, qu'il m'ennuye 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
8–10 Et vray Dieu, qu'il m'ennuye 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Stagger
9–10 Et vray Dieu, qu'il m'ennuye 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
9–10 Et vray Dieu, qu'il m'ennuye 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Overlap
10–11 Et vray Dieu, qu'il m'ennuye 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
11–12 Et vray Dieu, qu'il m'ennuye 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
12–13 Et vray Dieu, qu'il m'ennuye 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Pause
13–15 Et vray Dieu, qu'il m'ennuye 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?

Comments

The length of the first chord is halved; however, everything else is an exact repeat.
15–19 Et vray Dieu, qu'il m'ennuye 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?

Comments

Note lengths are combined or divided to account for different syllabic groupings.
13–15 Et vray Dieu, qu'il m'ennuye 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
7
Repeat, Exact or Varied?
15–19 Et vray Dieu, qu'il m'ennuye 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
8
Repeat, Exact or Varied?
1–3 Mon ami est en grace si parfaict 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Superius
Voice Role (@1 or @8)
Superius
Other Counterpoint
Stretto Fuga
1–4 Mon ami est en grace si parfaict 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Contratenor
Voice Role (@5)
Contratenor
1–4 Mon ami est en grace si parfaict 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Tenor
Voice Role (@4)
Tenor
3–4 Mon ami est en grace si parfaict 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
4–5 Mon ami est en grace si parfaict 1 Details
Analysis ID
Analyst
127
Is Cadence?
No

Comments

The tenorizans moves 2>3 instead of 2>1.
5–8 Mon ami est en grace si parfaict 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Bassus
Voice Role (@4)
Bassus
6–9 Mon ami est en grace si parfaict 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (@5)
Tenor
7–8 Mon ami est en grace si parfaict 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
9–9 Mon ami est en grace si parfaict 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
1–6 Mon ami est en grace si parfaict 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
5–6 Mon ami est en grace si parfaict 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Overlap
5–11 Mon ami est en grace si parfaict 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
12–15 Mon ami est en grace si parfaict 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Superius
Other Counterpoint
Stretto Fuga

Comments

The superius imitates the contratenor in a tonal entry at the major sixth above.
14–15 Mon ami est en grace si parfaict 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Formulas
Romanesca
16–18 Mon ami est en grace si parfaict 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
18–20 Mon ami est en grace si parfaict 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Stagger
22–22 Mon ami est en grace si parfaict 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
22–23 Mon ami est en grace si parfaict 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
22–25 Mon ami est en grace si parfaict 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Stagger
24–25 Mon ami est en grace si parfaict 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
26–27 Mon ami est en grace si parfaict 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
26–29 Mon ami est en grace si parfaict 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Superius
Voice Role (Dux 2)
Bassus
Other Counterpoint
Invertible Counterpoint

Comments

The superius enters a minor seventh above the tenor.
29–30 Mon ami est en grace si parfaict 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
30–33 Mon ami est en grace si parfaict 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Superius
Voice Role (@5)
Superius
Other Counterpoint
Stretto Fuga
34–38 Mon ami est en grace si parfaict 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (@5)
Tenor
Other Counterpoint
Stretto Fuga
36–38 Mon ami est en grace si parfaict 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
37–38 Mon ami est en grace si parfaict 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
38–40 Mon ami est en grace si parfaict 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
40–41 Mon ami est en grace si parfaict 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Contratenor
Voice Role (@5)
Contratenor
Other Counterpoint
Stretto Fuga
42–43 Mon ami est en grace si parfaict 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
44–50 Mon ami est en grace si parfaict 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
7
Repeat, Exact or Varied?

Comments

The first few measures are HR Simple instead of HR Stagger.
50–63 Mon ami est en grace si parfaict 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
8
Repeat, Exact or Varied?
1–2 N'ayez plus peur, mary jaloux 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Stagger
1–4 N'ayez plus peur, mary jaloux 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (@1 or @8)
Tenor
Other Counterpoint
Stretto Fuga
2–2 N'ayez plus peur, mary jaloux 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
2–3 N'ayez plus peur, mary jaloux 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
4–4 N'ayez plus peur, mary jaloux 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
4–4 N'ayez plus peur, mary jaloux 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Overlap
5–5 N'ayez plus peur, mary jaloux 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
6–6 N'ayez plus peur, mary jaloux 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
7–8 N'ayez plus peur, mary jaloux 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
9–4 N'ayez plus peur, mary jaloux 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?

Comments

The first measure is altered by the delayed entrance of the contratenor and the holdover from the previous cadence in the tenor.
4–10 N'ayez plus peur, mary jaloux 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
11–12 N'ayez plus peur, mary jaloux 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
10–13 N'ayez plus peur, mary jaloux 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Tenor
Voice Role (@5)
Tenor
Other Counterpoint
Stretto Fuga

Comments

The tenor response is tonal, so much of the melody is actually @4 below even though the entrance is @5.
12–13 N'ayez plus peur, mary jaloux 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
13–15 N'ayez plus peur, mary jaloux 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Tenor
Voice Role (@1 or @8)
Tenor
Other Counterpoint
Stretto Fuga
14–15 N'ayez plus peur, mary jaloux 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
15–16 N'ayez plus peur, mary jaloux 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
16–17 N'ayez plus peur, mary jaloux 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Declamation
19–20 N'ayez plus peur, mary jaloux 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
20–21 N'ayez plus peur, mary jaloux 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
21–22 N'ayez plus peur, mary jaloux 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
21–24 N'ayez plus peur, mary jaloux 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Tenor
Voice Role (Comes 2)
Tenor
Other Counterpoint
Stretto Fuga
25–26 N'ayez plus peur, mary jaloux 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
27–28 N'ayez plus peur, mary jaloux 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
28–21 N'ayez plus peur, mary jaloux 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
7
Repeat, Exact or Varied?

Comments

The first measure does not include a declamation of "Fi" in the bassus, which occurs on the first repeat.
21–29 N'ayez plus peur, mary jaloux 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
8
Repeat, Exact or Varied?
10–11 Mon ami est en grace si parfaict 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
15–16 Mon ami est en grace si parfaict 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
1–2 Dieu doinct le bon jour à m'amye 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
3–4 Dieu doinct le bon jour à m'amye 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Tenor
Voice Role (@1 or @8)
Tenor
Other Counterpoint
Stretto Fuga
4–5 Dieu doinct le bon jour à m'amye 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
4–5 Dieu doinct le bon jour à m'amye 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Overlap
4–6 Dieu doinct le bon jour à m'amye 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Bassus
Voice Role (@1 or @8)
Bassus
Other Counterpoint
Stretto Fuga
6–6 Dieu doinct le bon jour à m'amye 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
6–7 Dieu doinct le bon jour à m'amye 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
8–9 Dieu doinct le bon jour à m'amye 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
1–5 Dieu doinct le bon jour à m'amye 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
4–10 Dieu doinct le bon jour à m'amye 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
10–13 Dieu doinct le bon jour à m'amye 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (Dux 2)
Contratenor
Voice Role (@1 or @8)
Tenor
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
12–12 Dieu doinct le bon jour à m'amye 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
12–12 Dieu doinct le bon jour à m'amye 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
10–14 Dieu doinct le bon jour à m'amye 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Bassus
Voice Role (@1 or @8)
Bassus
12–14 Dieu doinct le bon jour à m'amye 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
12–14 Dieu doinct le bon jour à m'amye 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Overlap
12–15 Dieu doinct le bon jour à m'amye 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (@4)
Tenor
Other Counterpoint
Stretto Fuga
12–15 Dieu doinct le bon jour à m'amye 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Bassus
Voice Role (@1 or @8)
Bassus
16–17 Dieu doinct le bon jour à m'amye 6 Details
Analysis ID
Analyst
127
Is Cadence?
No

Comments

The contratenor moves to an A, so this functions as a vi6 chord.
18–19 Dieu doinct le bon jour à m'amye 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
19–21 Dieu doinct le bon jour à m'amye 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Bassus
Voice Role (Dux 2)
Superius
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
19–22 Dieu doinct le bon jour à m'amye 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Tenor
Voice Role (@5)
Tenor
20–20 Dieu doinct le bon jour à m'amye 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
21–21 Dieu doinct le bon jour à m'amye 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
21–22 Dieu doinct le bon jour à m'amye 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
21–22 Dieu doinct le bon jour à m'amye 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Overlap
21–23 Dieu doinct le bon jour à m'amye 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Tenor
Voice Role (@4)
Tenor
Other Counterpoint
Stretto Fuga

Comments

The tenor entry is tonal.
22–24 Dieu doinct le bon jour à m'amye 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Superius
23–24 Dieu doinct le bon jour à m'amye 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
24–25 Dieu doinct le bon jour à m'amye 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
25–26 Dieu doinct le bon jour à m'amye 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
25–27 Dieu doinct le bon jour à m'amye 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
27–22 Dieu doinct le bon jour à m'amye 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
7
Repeat, Exact or Varied?

Comments

The contratenor part in measure 27 varies from that in measure 19.
21–28 Dieu doinct le bon jour à m'amye 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
8
Repeat, Exact or Varied?
1–2 Si le pouvoir de Diane a esté 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
1–3 Si le pouvoir de Diane a esté 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Bassus
Voice Role (@5)
Bassus
Other Counterpoint
Stretto Fuga

Comments

The comes (bassus) is a tonal response.
2–5 Si le pouvoir de Diane a esté 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
4–4 Si le pouvoir de Diane a esté 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
4–5 Si le pouvoir de Diane a esté 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
5–8 Si le pouvoir de Diane a esté 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Superius
Voice Role (@1 or @8)
Superius
Other Counterpoint
Stretto Fuga
6–6 Si le pouvoir de Diane a esté 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
6–8 Si le pouvoir de Diane a esté 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
7–8 Si le pouvoir de Diane a esté 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
8–9 Si le pouvoir de Diane a esté 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
1–5 Si le pouvoir de Diane a esté 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
5–9 Si le pouvoir de Diane a esté 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
9–10 Si le pouvoir de Diane a esté 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Pause
10–13 Si le pouvoir de Diane a esté 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Stagger
11–12 Si le pouvoir de Diane a esté 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Formulas
Romanesca
13–14 Si le pouvoir de Diane a esté 5 Details
Analysis ID
Analyst
127
Is Cadence?
No

Comments

The tenorizans moves 2>3 instead of 2>1.
14–16 Si le pouvoir de Diane a esté 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
NIM
Voice Role (Upper Voice 1 NIM)
Superius
Voice Role (Lower Voice 1 NIM)
Contratenor
Voice Role (Upper Voice 2 NIM)
Tenor
Voice Role (Lower Voice 2 NIM)
Bassus
Other Counterpoint
Stretto Fuga
16–17 Si le pouvoir de Diane a esté 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
17–18 Si le pouvoir de Diane a esté 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
18–22 Si le pouvoir de Diane a esté 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Bassus
Voice Role (@1 or @8)
Bassus
Other Counterpoint
Stretto Fuga
18–22 Si le pouvoir de Diane a esté 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
21–22 Si le pouvoir de Diane a esté 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
22–25 Si le pouvoir de Diane a esté 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Superius
Voice Role (Dux 2)
Bassus
Voice Role (Comes 2)
Contratenor
Voice Role (@1 or @8)
Superius
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
24–24 Si le pouvoir de Diane a esté 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
25–27 Si le pouvoir de Diane a esté 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
27–22 Si le pouvoir de Diane a esté 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
7
Repeat, Exact or Varied?
22–29 Si le pouvoir de Diane a esté 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
8
Repeat, Exact or Varied?
7–8 Pour avoir fille en mariage 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
1–4 Il n'est que d'estre sur l'herbette 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Tenor
Voice Role (Dux 2)
Superius
Voice Role (@1 or @8)
Tenor
Voice Role (Above)
Tenor
Other Counterpoint
Stretto Fuga
3–5 Il n'est que d'estre sur l'herbette 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Bassus
Voice Role (@1 or @8)
Bassus
Other Counterpoint
Stretto Fuga

Comments

Melody here is tonal version of the melody used in previous PEn.

4–5 Il n'est que d'estre sur l'herbette 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
4–5 Il n'est que d'estre sur l'herbette 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Overlap
5–7 Il n'est que d'estre sur l'herbette 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
9–11 Il n'est que d'estre sur l'herbette 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
11–12 Il n'est que d'estre sur l'herbette 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
12–15 Il n'est que d'estre sur l'herbette 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Bassus
Voice Role (@1 or @8)
Bassus
Other Counterpoint
Stretto Fuga

Comments

This FI leads into a PEn which is concluded with the repeat.
12–5 Il n'est que d'estre sur l'herbette 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?

Comments

The variation occurs in the added FI (see analysis 10000).
4–14 Il n'est que d'estre sur l'herbette 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
14–17 Il n'est que d'estre sur l'herbette 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
NIM
Voice Role (Upper Voice 1 NIM)
Contratenor
Voice Role (Lower Voice 1 NIM)
Bassus
Voice Role (Upper Voice 2 NIM)
Superius
Voice Role (Lower Voice 2 NIM)
Tenor
Other Counterpoint
Stretto Fuga
17–18 Il n'est que d'estre sur l'herbette 5 Details
Analysis ID
Analyst
127
Is Cadence?
No

Comments

This resembles an authentic cadence in many ways, but the pseudo-cadential pair moves from a minor sixth to an octave, not a major sixth.
18–18 Il n'est que d'estre sur l'herbette 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Overlap
23–24 Il n'est que d'estre sur l'herbette 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
24–26 Il n'est que d'estre sur l'herbette 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Comes 1)
Tenor
Voice Role (Dux 2)
Bassus
Voice Role (@5)
Bassus
Other Counterpoint
Stretto Fuga
26–29 Il n'est que d'estre sur l'herbette 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (@1 or @8)
Tenor
Other Counterpoint
Stretto Fuga
Text Treatment
Text Declamation

Comments

This text declaim spans two lines of text, and in conjunction with the declamation in the other voices, forms a NIM. However, as parts go with different phrases, it could not be tagged as such.
26–29 Il n'est que d'estre sur l'herbette 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Contratenor
Text Treatment
Text Declamation

Comments

In conjunction with the declamation in the other voices, this FI forms part of a NIM. However, as these parts go with different phrases, it could not be tagged as such.
31–31 Il n'est que d'estre sur l'herbette 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Stagger
26–28 Il n'est que d'estre sur l'herbette 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Overlap
29–30 Il n'est que d'estre sur l'herbette 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
30–31 Il n'est que d'estre sur l'herbette 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
31–28 Il n'est que d'estre sur l'herbette 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
7
Repeat, Exact or Varied?

Comments

The first two measures vary slightly to fit in the appropriate number of syllables. Further, there is a brief HR Stagger in measure 31 that does not occur the first time through phrase 7.
26–33 Il n'est que d'estre sur l'herbette 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
8
Repeat, Exact or Varied?
8–12 Pour avoir fille en mariage 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
NIM
Voice Role (Upper Voice 1 NIM)
Tenor
Voice Role (Lower Voice 1 NIM)
Bassus
Voice Role (Upper Voice 2 NIM)
Superius
Voice Role (Lower Voice 2 NIM)
Contratenor
9–9 Pour avoir fille en mariage 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
11–11 Pour avoir fille en mariage 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
13–14 Pour avoir fille en mariage 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
14–15 Pour avoir fille en mariage 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
1–8 Pour avoir fille en mariage 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
8–16 Pour avoir fille en mariage 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
16–17 Pour avoir fille en mariage 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Pause
17–20 Pour avoir fille en mariage 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Dance
18–19 Pour avoir fille en mariage 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Text Treatment
Text Pause
20–22 Pour avoir fille en mariage 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
Other Formulas
Romanesca
21–22 Pour avoir fille en mariage 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
22–24 Pour avoir fille en mariage 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Da Capo
Earlier Phrase
5
Repeat, Exact or Varied?

Comments

This corresponds to measures 20-22.
24–30 Pour avoir fille en mariage 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Dance
29–30 Pour avoir fille en mariage 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
31–36 Pour avoir fille en mariage 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Superius
Voice Role (Dux 2)
Contratenor
Voice Role (Comes 2)
Bassus
Voice Role (@1 or @8)
Superius
Other Counterpoint
Invertible Counterpoint
37–37 Pour avoir fille en mariage 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
37–38 Pour avoir fille en mariage 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Stagger
38–41 Pour avoir fille en mariage 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
39–39 Pour avoir fille en mariage 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
41–42 Pour avoir fille en mariage 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
42–37 Pour avoir fille en mariage 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
7
Repeat, Exact or Varied?
37–43 Pour avoir fille en mariage 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
8
Repeat, Exact or Varied?
40–42 Pour avoir fille en mariage 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Da Capo
Earlier Phrase
8
Repeat, Exact or Varied?

Comments

This is a repeat of measures 37-39. The main difference is the lack of HR Stagger and the more elaborate cadence. These changes are noted in other analyses.
1–2 En amour y a du plaisir 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
2–3 En amour y a du plaisir 1 Details
Analysis ID
Analyst
127
Is Cadence?
No

Comments

This is very similar to an authentic cadence, but the cadential pair begins with an inverted minor sixth (major third) instead of a major sixth.
3–4 En amour y a du plaisir 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Stagger
4–6 En amour y a du plaisir 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
5–6 En amour y a du plaisir 2 Details
Analysis ID
Analyst
127
Is Cadence?
No
6–8 En amour y a du plaisir 3 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?

Comments

Relative to phrase 1, the time value of the first note in phrase 3 is halved. Further, the phrase ends homorhythmically unlike phrase 1.
8–11 En amour y a du plaisir 4 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?

Comments

Phrase 4 more or less lines up the parts of phrase 2 into a simple homorhythm, whereas phrase 2 had a staggered homorhythm at the beginning.
11–13 En amour y a du plaisir 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple

Comments

There is also a 5/3 pattern between the bassus and soprano; the parallel sixths allow it such that the bassus and soprano form a fifth or octave while the bassus and tenor form a third, and vice versa.
13–13 En amour y a du plaisir 5 Details
Analysis ID
Analyst
127
Is Cadence?
No
13–15 En amour y a du plaisir 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
15–16 En amour y a du plaisir 6 Details
Analysis ID
Analyst
127
Is Cadence?
No
16–19 En amour y a du plaisir 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
19–19 En amour y a du plaisir 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
19–25 En amour y a du plaisir 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
HR Simple
20–21 En amour y a du plaisir 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
21–22 En amour y a du plaisir 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
22–24 En amour y a du plaisir 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Formulas
Romanesca
23–25 En amour y a du plaisir 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
25–19 En amour y a du plaisir 7 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
7
Repeat, Exact or Varied?
19–26 En amour y a du plaisir 8 Details
Analysis ID
Analyst
127
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
8
Repeat, Exact or Varied?
1–4 Pour avoir fille en mariage 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Other Presentation Type
NIM
Voice Role (Upper Voice 1 NIM)
Superius
Voice Role (Lower Voice 1 NIM)
Contratenor
Voice Role (Upper Voice 2 NIM)
Tenor
Voice Role (Lower Voice 2 NIM)
Bassus

Comments

When the tenor and bassus respond to the superius and contratenor, the voice parts are inverted.
1–2 Pour avoir fille en mariage 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
2–3 Pour avoir fille en mariage 1 Details
Analysis ID
Analyst
127
Is Cadence?
No

Comments

The bassus moves from 5>6.
4–8 Pour avoir fille en mariage 1 Details
Analysis ID
Analyst
127
Is Cadence?
No
Voice Role (Upper Voice 1 NIM)
Superius
Voice Role (Lower Voice 1 NIM)
Contratenor
Voice Role (Upper Voice 2 NIM)
Tenor
Voice Role (Lower Voice 2 NIM)
Bassus

Comments

This is a near-repeat of the NIM in measures 1-4. However, the contratenor enters before the superius, unlike the first NIM. The parts are still inverted in the response.
5–6 Pour avoir fille en mariage 1 Details
Analysis ID
Analyst
127
Is Cadence?
No

Comments

The bassus moves 5>6.
25–28 Quand contremont voirras retourner loyre 1 Details
Analysis ID
Analyst
127
Is Cadence?
No