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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Buchanan, Christopher

Analyses

Measures Piece Phrase Number
1–4 Maistre Lubin de sang rassis 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
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)
Superius
Voice Role (Above)
Superius
Other Counterpoint
Stretto Fuga
5–6 Maistre Lubin de sang rassis 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
6–7 Maistre Lubin de sang rassis 3 Details
Analysis ID
Analyst
24
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
Text Treatment
Text Overlap
8–11 Maistre Lubin de sang rassis 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Overlap
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?

Comments

Tenor entry displaced by half note, overlap from phrase 2 in S/Ct
13–14 Maistre Lubin de sang rassis 4 Details
Analysis ID
Analyst
24
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
15–15 Maistre Lubin de sang rassis 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
12–13 Maistre Lubin de sang rassis 4 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

C in Ct must be raised via ficta
16–19 Maistre Lubin de sang rassis 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
ID
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Contratenor
Voice Role (Dux 2)
Tenor
Voice Role (Comes 2)
Bassus
Voice Role (@1 or @8)
Tenor
Voice Role (Below)
Tenor
Other Counterpoint
Stretto Fuga
19–20 Maistre Lubin de sang rassis 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Contratenor
Voice Role (@4)
Contratenor
Voice Role (Below)
Contratenor
20–21 Maistre Lubin de sang rassis 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Overlap
23–24 Maistre Lubin de sang rassis 6 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

Would be phrygian, Ct moves down to E instead of up to A
24–25 Maistre Lubin de sang rassis 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Contratenor
Voice Role (@1 or @8)
Contratenor
Voice Role (Above)
Contratenor
Other Counterpoint
Stretto Fuga

Comments

SF includes S and T
26–26 Maistre Lubin de sang rassis 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
27–29 Maistre Lubin de sang rassis 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Simple
30–33 Maistre Lubin de sang rassis 8 Details
Analysis ID
Analyst
24
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
Voice Role (@1 or @8)
Superius
Voice Role (Above)
Superius

Comments

Ct enters a 3rd higher that B
32–33 Maistre Lubin de sang rassis 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
33–34 Maistre Lubin de sang rassis 9 Details
Analysis ID
Analyst
24
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
Voice Role (@5)
Contratenor
Voice Role (Above)
Contratenor
Voice Role (Below)
Tenor
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
34–35 Maistre Lubin de sang rassis 9 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Bassus
Voice Role (Dux 2)
Tenor
Voice Role (@1 or @8)
Bassus
Voice Role (@5)
Tenor
Voice Role (Above)
Tenor
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga

Comments

S enters on G; otherwise the module is intact
37–41 Maistre Lubin de sang rassis 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dance
41–42 Maistre Lubin de sang rassis 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
43–50 Maistre Lubin de sang rassis 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Final Repeat
Repeat, Exact or Varied?
42–44 Maistre Lubin de sang rassis 11 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Simple
45–45 Maistre Lubin de sang rassis 11 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
ID
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Tenor
Voice Role (Dux 2)
Superius
Voice Role (Comes 2)
Tenor
Voice Role (@1 or @8)
Superius
Other Counterpoint
Stretto Fuga
Text Treatment
Text Representation

Comments

"Serrez" represented in tight, compact stretto
46–48 Maistre Lubin de sang rassis 11 Details
Analysis ID
Analyst
24
Is Cadence?
No
49–50 Maistre Lubin de sang rassis 12 Details
Analysis ID
Analyst
24
Is Cadence?
No
1–6 Sans avoir faict nul desplaisir 1 Details
Analysis ID
Analyst
24
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 (@1 or @8)
Contratenor
Voice Role (@5)
Bassus
Voice Role (@4)
Tenor
Voice Role (Below)
Contratenor
7–9 Sans avoir faict nul desplaisir 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Superius
Voice Role (@5)
Superius
Voice Role (Above)
Superius
Text Treatment
Text Overlap
10–11 Sans avoir faict nul desplaisir 2 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

No 2>1
11–13 Sans avoir faict nul desplaisir 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Superius
Voice Role (@1 or @8)
Superius
Voice Role (Above)
Superius
14–15 Sans avoir faict nul desplaisir 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
16–17 Sans avoir faict nul desplaisir 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Contratenor
Voice Role (@5)
Contratenor
Voice Role (Above)
Contratenor
19–20 Sans avoir faict nul desplaisir 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Overlap

Comments

T silent, overlap in S
18–21 Sans avoir faict nul desplaisir 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (@5)
Tenor
Voice Role (Below)
Tenor
23–24 Sans avoir faict nul desplaisir 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Overlap

Comments

Overlap in S
23–25 Sans avoir faict nul desplaisir 4 Details
Analysis ID
Analyst
24
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
30–32 Sans avoir faict nul desplaisir 5 Details
Analysis ID
Analyst
24
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
34–35 Sans avoir faict nul desplaisir 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
35–39 Sans avoir faict nul desplaisir 5 Details
Analysis ID
Analyst
24
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
39–41 Sans avoir faict nul desplaisir 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Superius
Voice Role (Dux 2)
Bassus
Voice Role (@1 or @8)
Superius
Voice Role (Above)
Superius
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
43–44 Sans avoir faict nul desplaisir 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
44–46 Sans avoir faict nul desplaisir 6 Details
Analysis ID
Analyst
24
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
Voice Role (@5)
Bassus
Voice Role (Above)
Superius
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
45–46 Sans avoir faict nul desplaisir 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
47–48 Sans avoir faict nul desplaisir 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
49–51 Sans avoir faict nul desplaisir 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
56–57 Sans avoir faict nul desplaisir 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
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
Voice Role (@1 or @8)
Superius
Voice Role (Above)
Superius
57–58 Sans avoir faict nul desplaisir 8 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

Almost romanesca, too short
58–60 Sans avoir faict nul desplaisir 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Representation

Comments

Bass not in cadence at work "tristesse"
59–64 Sans avoir faict nul desplaisir 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
8
Repeat, Exact or Varied?

Comments

Bass in cadence in m. 64
63–64 Sans avoir faict nul desplaisir 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
1–3 Si mon grand mal ne peult finir 1 Details
Analysis ID
Analyst
24
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
Voice Role (@1 or @8)
Tenor
Voice Role (Below)
Tenor
5–6 Si mon grand mal ne peult finir 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Stagger
7–8 Si mon grand mal ne peult finir 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
1–4 Si mon grand mal ne peult finir 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
4–8 Si mon grand mal ne peult finir 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
10–13 Si mon grand mal ne peult finir 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dactyll
Text Treatment
Text Pause
12–12 Si mon grand mal ne peult finir 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
12–14 Si mon grand mal ne peult finir 6 Details
Analysis ID
Analyst
24
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
14–15 Si mon grand mal ne peult finir 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
16–16 Si mon grand mal ne peult finir 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Representation

Comments

Phrygian cadence on "meurt"
17–19 Si mon grand mal ne peult finir 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Stagger
19–20 Si mon grand mal ne peult finir 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Overlap
19–23 Si mon grand mal ne peult finir 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
ID
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)
Tenor
Voice Role (Below)
Tenor
Other Counterpoint
Stretto Fuga
Text Treatment
Text Representation

Comments

Melismas on "mal" Underlay in mm. 19/20 in Ct might be incorrect.
24–26 Si mon grand mal ne peult finir 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
25–28 Si mon grand mal ne peult finir 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Final Repeat
Repeat, Exact or Varied?

Comments

Full cadence on second ending
28–28 Si mon grand mal ne peult finir 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
24–25 Si mon grand mal ne peult finir 8 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

Tenor has 2>3 instead of 2>1
1–3 Poste esgaré par trop adventureux 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dactyll
4–6 Poste esgaré par trop adventureux 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Superius
Voice Role (@1 or @8)
Superius
Voice Role (Above)
Superius
6–7 Poste esgaré par trop adventureux 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
7–8 Poste esgaré par trop adventureux 1 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

M. 7 Ct/B Phrygian to E
10–11 Poste esgaré par trop adventureux 2 Details
Analysis ID
Analyst
24
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
10–12 Poste esgaré par trop adventureux 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Fauxbourdon
13–13 Poste esgaré par trop adventureux 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
1–8 Poste esgaré par trop adventureux 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
8–13 Poste esgaré par trop adventureux 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
14–16 Poste esgaré par trop adventureux 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dactyll
17–18 Poste esgaré par trop adventureux 5 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

Ct 2>3 instead of 2>1
19–19 Poste esgaré par trop adventureux 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Simple
22–24 Poste esgaré par trop adventureux 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Contratenor
Voice Role (@1 or @8)
Contratenor
Other Counterpoint
Stretto Fuga
24–24 Poste esgaré par trop adventureux 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
24–25 Poste esgaré par trop adventureux 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Superius
Voice Role (@1 or @8)
Superius
Voice Role (Above)
Superius
Other Counterpoint
Stretto Fuga
27–30 Poste esgaré par trop adventureux 9 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Simple
30–32 Poste esgaré par trop adventureux 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Bassus
Voice Role (Dux 2)
Contratenor
Voice Role (@1 or @8)
Contratenor
Voice Role (@5)
Bassus
Voice Role (Above)
Contratenor
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
33–35 Poste esgaré par trop adventureux 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Representation

Comments

Chain of suspensions on "lamenter"
35–35 Poste esgaré par trop adventureux 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Representation

Comments

Phrygian cadence on "lamenter," suspension in T
35–38 Poste esgaré par trop adventureux 11 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
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)
Tenor
Voice Role (@5)
Bassus
Voice Role (@4)
Superius
Voice Role (Above)
Superius
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
44–46 Poste esgaré par trop adventureux 11 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Stagger
43–48 Poste esgaré par trop adventureux 11 Details
Analysis ID
Analyst
24
Is Cadence?
No
47–48 Poste esgaré par trop adventureux 11 Details
Analysis ID
Analyst
24
Is Cadence?
No
1–2 Sus, sus, ma seur, prendz bon couraige 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Superius
Voice Role (Dux 2)
Tenor
Voice Role (@1 or @8)
Tenor
Voice Role (@5)
Superius
Voice Role (Above)
Superius
Voice Role (Below)
Tenor
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
3–4 Sus, sus, ma seur, prendz bon couraige 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Superius
Voice Role (Dux 2)
Tenor
Voice Role (@1 or @8)
Tenor
Voice Role (@4)
Superius
Voice Role (Above)
Superius
Voice Role (Below)
Tenor
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
4–5 Sus, sus, ma seur, prendz bon couraige 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
5–5 Sus, sus, ma seur, prendz bon couraige 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
8–8 Sus, sus, ma seur, prendz bon couraige 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
8–10 Sus, sus, ma seur, prendz bon couraige 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Bassus
Voice Role (Dux 2)
Tenor
Voice Role (@1 or @8)
Bassus
Voice Role (@5)
Tenor
Voice Role (Above)
Tenor
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
11–12 Sus, sus, ma seur, prendz bon couraige 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Superius
Voice Role (@5)
Superius
Voice Role (Above)
Superius
13–13 Sus, sus, ma seur, prendz bon couraige 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
13–15 Sus, sus, ma seur, prendz bon couraige 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Bassus
Voice Role (Dux 2)
Contratenor
Voice Role (Comes 2)
Superius
Voice Role (@1 or @8)
Contratenor
Voice Role (@5)
Bassus
Voice Role (Above)
Contratenor
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
14–16 Sus, sus, ma seur, prendz bon couraige 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Bassus
Voice Role (Dux 2)
Superius
Voice Role (@1 or @8)
Superius
Voice Role (@5)
Bassus
Voice Role (Above)
Superius
Voice Role (Below)
Bassus
16–18 Sus, sus, ma seur, prendz bon couraige 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
17–20 Sus, sus, ma seur, prendz bon couraige 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
ID
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (Dux 2)
Contratenor
Voice Role (Comes 2)
Bassus
Voice Role (@4)
Contratenor
Voice Role (Below)
Contratenor
Other Counterpoint
Stretto Fuga

Comments

Could also be PEn
21–22 Sus, sus, ma seur, prendz bon couraige 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
22–24 Sus, sus, ma seur, prendz bon couraige 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Stagger
Text Treatment
Text Overlap
27–28 Sus, sus, ma seur, prendz bon couraige 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
28–29 Sus, sus, ma seur, prendz bon couraige 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Contratenor
Voice Role (Dux 2)
Bassus
Voice Role (@1 or @8)
Contratenor
Voice Role (@5)
Bassus
Voice Role (Above)
Bassus
Other Counterpoint
Stretto Fuga
30–31 Sus, sus, ma seur, prendz bon couraige 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Bassus
Voice Role (@5)
Bassus
Voice Role (Below)
Bassus
Other Counterpoint
Stretto Fuga
31–32 Sus, sus, ma seur, prendz bon couraige 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
32–33 Sus, sus, ma seur, prendz bon couraige 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Representation

Comments

Phrygian cadence > old age
41–33 Sus, sus, ma seur, prendz bon couraige 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
7
Repeat, Exact or Varied?

Comments

S/T parts differ in mm. 43-44 (ouvert ending)
42–43 Sus, sus, ma seur, prendz bon couraige 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
33–38 Sus, sus, ma seur, prendz bon couraige 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
ID
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Contratenor
Voice Role (Dux 2)
Tenor
Voice Role (Comes 2)
Bassus
Voice Role (@5)
Tenor
Voice Role (Below)
Tenor
Other Counterpoint
Stretto Fuga
35–36 Sus, sus, ma seur, prendz bon couraige 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
37–38 Sus, sus, ma seur, prendz bon couraige 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Superius
Voice Role (@1 or @8)
Superius
38–40 Sus, sus, ma seur, prendz bon couraige 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Tenor
Voice Role (Dux 2)
Bassus
Voice Role (Comes 2)
Superius
Voice Role (@1 or @8)
Superius
Voice Role (@5)
Bassus
Voice Role (Above)
Superius
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
37–38 Sus, sus, ma seur, prendz bon couraige 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Representation

Comments

Ct no 2>1 (double entendre?)
41–42 Sus, sus, ma seur, prendz bon couraige 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
33–45 Sus, sus, ma seur, prendz bon couraige 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
8
Repeat, Exact or Varied?
1–3 Elle disoit : faictes tout bellement 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Simple
3–4 Elle disoit : faictes tout bellement 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Declamation

Comments

Exclamation of "Hay"
5–7 Elle disoit : faictes tout bellement 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
7–8 Elle disoit : faictes tout bellement 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
11–12 Elle disoit : faictes tout bellement 3 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

Ct 2>3 instead of 2>1
12–13 Elle disoit : faictes tout bellement 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Declamation

Comments

Repeat of "tost"
15–15 Elle disoit : faictes tout bellement 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Representation

Comments

Series of P4s on "hardiment"
15–16 Elle disoit : faictes tout bellement 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
16–18 Elle disoit : faictes tout bellement 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Stagger
19–20 Elle disoit : faictes tout bellement 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
20–22 Elle disoit : faictes tout bellement 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Superius
Voice Role (@1 or @8)
Superius
Text Treatment
Text Overlap
21–23 Elle disoit : faictes tout bellement 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Superius
Voice Role (@1 or @8)
Superius
Voice Role (Above)
Superius
24–26 Elle disoit : faictes tout bellement 6 Details
Analysis ID
Analyst
24
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
28–29 Elle disoit : faictes tout bellement 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
31–31 Elle disoit : faictes tout bellement 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
26–27 Elle disoit : faictes tout bellement 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Bassus
Voice Role (@5)
Bassus
Voice Role (Below)
Bassus
Other Counterpoint
Stretto Fuga
27–28 Elle disoit : faictes tout bellement 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Contratenor
Voice Role (@1 or @8)
Contratenor

Comments

Related to S/B entries in previous measure, but not ID
1–2 Du jeu d'aymer Martin fort curieux 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dactyll
1–5 Du jeu d'aymer Martin fort curieux 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
4–5 Du jeu d'aymer Martin fort curieux 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Contratenor
Voice Role (@1 or @8)
Contratenor
6–7 Du jeu d'aymer Martin fort curieux 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
11–11 Du jeu d'aymer Martin fort curieux 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
5–6 Du jeu d'aymer Martin fort curieux 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Overlap
1–6 Du jeu d'aymer Martin fort curieux 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
5–11 Du jeu d'aymer Martin fort curieux 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
12–15 Du jeu d'aymer Martin fort curieux 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Simple
15–15 Du jeu d'aymer Martin fort curieux 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
16–20 Du jeu d'aymer Martin fort curieux 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
17–20 Du jeu d'aymer Martin fort curieux 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Fauxbourdon
Text Treatment
Text Representation

Comments

Descending/semi-phrygian gestures on "mourir"
19–20 Du jeu d'aymer Martin fort curieux 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
20–21 Du jeu d'aymer Martin fort curieux 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Superius
Voice Role (Dux 2)
Contratenor
Voice Role (@1 or @8)
Superius
Voice Role (@4)
Contratenor
Voice Role (Above)
Superius
Voice Role (Below)
Contratenor
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
Text Treatment
Text Representation

Comments

Quick gesture on "La garse prompte"
22–23 Du jeu d'aymer Martin fort curieux 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
23–24 Du jeu d'aymer Martin fort curieux 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
24–24 Du jeu d'aymer Martin fort curieux 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
ID
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Superius
Voice Role (Dux 2)
Bassus
Voice Role (Comes 2)
Contratenor
Voice Role (@5)
Bassus
Voice Role (Below)
Bassus
Other Counterpoint
Stretto Fuga
26–26 Du jeu d'aymer Martin fort curieux 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
26–29 Du jeu d'aymer Martin fort curieux 9 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Stagger
31–32 Du jeu d'aymer Martin fort curieux 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
32–33 Du jeu d'aymer Martin fort curieux 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Superius
Voice Role (@1 or @8)
Superius
Voice Role (Above)
Superius
35–36 Du jeu d'aymer Martin fort curieux 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Representation

Comments

First unaltered authentic cadence on "contente"
36–38 Du jeu d'aymer Martin fort curieux 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Declamation

Comments

Repeat of "mourez"
39–40 Du jeu d'aymer Martin fort curieux 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
1–3 Faire ne puis sans dueil & desplaisir 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Tenor
Voice Role (@1 or @8)
Tenor
Voice Role (Above)
Tenor
Other Counterpoint
Stretto Fuga
4–5 Faire ne puis sans dueil & desplaisir 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
4–4 Faire ne puis sans dueil & desplaisir 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
6–7 Faire ne puis sans dueil & desplaisir 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Representation

Comments

Phrygian on "desplaisir"
7–9 Faire ne puis sans dueil & desplaisir 2 Details
Analysis ID
Analyst
24
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
Voice Role (@5)
Tenor
Voice Role (Below)
Tenor
9–13 Faire ne puis sans dueil & desplaisir 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Superius
Voice Role (@5)
Superius
Voice Role (Above)
Superius
13–14 Faire ne puis sans dueil & desplaisir 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
1–7 Faire ne puis sans dueil & desplaisir 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
7–14 Faire ne puis sans dueil & desplaisir 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
14–16 Faire ne puis sans dueil & desplaisir 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Simple
17–18 Faire ne puis sans dueil & desplaisir 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
18–19 Faire ne puis sans dueil & desplaisir 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
22–23 Faire ne puis sans dueil & desplaisir 6 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

Also plagal
23–25 Faire ne puis sans dueil & desplaisir 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dactyll
25–27 Faire ne puis sans dueil & desplaisir 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Bassus
Voice Role (Dux 2)
Superius
Voice Role (@1 or @8)
Bassus
Voice Role (@5)
Superius
Voice Role (Above)
Superius
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
28–29 Faire ne puis sans dueil & desplaisir 7 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

Ct/B Phrygian to D in 27-28
28–30 Faire ne puis sans dueil & desplaisir 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Simple
29–31 Faire ne puis sans dueil & desplaisir 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
32–33 Faire ne puis sans dueil & desplaisir 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Representation

Comments

Phrygian on "mon mal je descouvre"
34–40 Faire ne puis sans dueil & desplaisir 9 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
40–47 Faire ne puis sans dueil & desplaisir 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?

Comments

Melisma in S, mm. 44-45
1–2 Belle comere Dieu vous gard 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dactyll
2–2 Belle comere Dieu vous gard 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
3–4 Belle comere Dieu vous gard 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
4–5 Belle comere Dieu vous gard 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
5–7 Belle comere Dieu vous gard 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dactyll
6–7 Belle comere Dieu vous gard 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
7–9 Belle comere Dieu vous gard 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
9–11 Belle comere Dieu vous gard 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Simple
14–14 Belle comere Dieu vous gard 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
15–19 Belle comere Dieu vous gard 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dactyll
19–20 Belle comere Dieu vous gard 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
1–3 Celer ne puis ny dire le tourment 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Bassus
Voice Role (@1 or @8)
Bassus
Voice Role (Below)
Bassus

Comments

Not a NIM, timing of modules off
2–4 Celer ne puis ny dire le tourment 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Tenor
Voice Role (@1 or @8)
Tenor
Other Counterpoint
Stretto Fuga
5–6 Celer ne puis ny dire le tourment 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Representation

Comments

Phrygian on "tourment"
7–10 Celer ne puis ny dire le tourment 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dactyll
9–11 Celer ne puis ny dire le tourment 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
1–6 Celer ne puis ny dire le tourment 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
6–11 Celer ne puis ny dire le tourment 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
11–12 Celer ne puis ny dire le tourment 5 Details
Analysis ID
Analyst
24
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
14–15 Celer ne puis ny dire le tourment 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
15–16 Celer ne puis ny dire le tourment 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
NIM
Voice Role (Upper Voice 1 NIM)
Superius
Voice Role (Lower Voice 1 NIM)
Bassus
Voice Role (Upper Voice 2 NIM)
Contratenor
Voice Role (Lower Voice 2 NIM)
Tenor
Voice Role (@5)
Contratenor
Voice Role (Below)
Contratenor
Other Counterpoint
Invertible Counterpoint

Comments

Much tonal adjustment
18–19 Celer ne puis ny dire le tourment 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
19–21 Celer ne puis ny dire le tourment 7 Details
Analysis ID
Analyst
24
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
22–24 Celer ne puis ny dire le tourment 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Tenor
Voice Role (Dux 2)
Contratenor
Voice Role (@5)
Tenor
Voice Role (@4)
Contratenor
Voice Role (Above)
Tenor
Other Counterpoint
Invertible Counterpoint

Comments

Would be stacked, but Ct adjusted down 2nd
27–27 Celer ne puis ny dire le tourment 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Declamation

Comments

Naked statement of "mort," all voices leap
29–30 Celer ne puis ny dire le tourment 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
1–4 Un vieil souldard prioit une fillette 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
ID
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)
Superius
Voice Role (Above)
Superius
Other Counterpoint
Stretto Fuga

Comments

Ct entrance adjusted down 2nd
5–6 Un vieil souldard prioit une fillette 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
6–8 Un vieil souldard prioit une fillette 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
ID
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Contratenor
Voice Role (Dux 2)
Tenor
Voice Role (Comes 2)
Bassus
Voice Role (@1 or @8)
Tenor
Voice Role (Below)
Tenor
Other Counterpoint
Stretto Fuga
8–9 Un vieil souldard prioit une fillette 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Simple
9–9 Un vieil souldard prioit une fillette 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
9–14 Un vieil souldard prioit une fillette 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
14–18 Un vieil souldard prioit une fillette 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
18–20 Un vieil souldard prioit une fillette 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
ID
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Bassus
Voice Role (Dux 2)
Superius
Voice Role (Comes 2)
Tenor
Voice Role (@5)
Superius
Voice Role (Above)
Superius
Other Counterpoint
Stretto Fuga

Comments

Also could be PEn
21–21 Un vieil souldard prioit une fillette 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
22–22 Un vieil souldard prioit une fillette 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
22–23 Un vieil souldard prioit une fillette 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Simple
25–26 Un vieil souldard prioit une fillette 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
27–31 Un vieil souldard prioit une fillette 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
29–31 Un vieil souldard prioit une fillette 8 Details
Analysis ID
Analyst
24
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
Text Treatment
Text Overlap
32–34 Un vieil souldard prioit une fillette 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Simple
33–34 Un vieil souldard prioit une fillette 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
2–3 Faictes si vous plaist vostre aumosne 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dactyll
3–4 Faictes si vous plaist vostre aumosne 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
5–7 Faictes si vous plaist vostre aumosne 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dactyll
6–7 Faictes si vous plaist vostre aumosne 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
8–10 Faictes si vous plaist vostre aumosne 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?

Comments

Different tonality in 8.1-8.3
11–14 Faictes si vous plaist vostre aumosne 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
15–18 Faictes si vous plaist vostre aumosne 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
1–2 Un jeune moine bien adroit 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Superius
Voice Role (Dux 2)
Tenor
Voice Role (@1 or @8)
Tenor
Voice Role (@4)
Superius
Voice Role (Above)
Superius
Voice Role (Below)
Tenor
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
3–4 Un jeune moine bien adroit 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Tenor
Voice Role (@4)
Tenor
Voice Role (Above)
Tenor
Other Counterpoint
Stretto Fuga
4–6 Un jeune moine bien adroit 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Superius
Voice Role (@1 or @8)
Superius
Voice Role (Above)
Superius
7–7 Un jeune moine bien adroit 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
3–3 Un jeune moine bien adroit 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
7–8 Un jeune moine bien adroit 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Contratenor
Voice Role (Dux 2)
Bassus
Voice Role (@1 or @8)
Contratenor
Voice Role (@5)
Bassus
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
10–11 Un jeune moine bien adroit 2 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

Ct/B phrygian to D in 10
11–18 Un jeune moine bien adroit 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
18–22 Un jeune moine bien adroit 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
21–23 Un jeune moine bien adroit 5 Details
Analysis ID
Analyst
24
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
Voice Role (Above)
Superius
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
24–25 Un jeune moine bien adroit 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
23–27 Un jeune moine bien adroit 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Stagger

Comments

Almost romanesca
27–28 Un jeune moine bien adroit 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
28–31 Un jeune moine bien adroit 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
5
Repeat, Exact or Varied?

Comments

3-part PEn instead of 4 in m. 28 (no Ct)
31–34 Un jeune moine bien adroit 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
6
Repeat, Exact or Varied?
34–35 Un jeune moine bien adroit 9 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Bassus
Voice Role (Dux 2)
Tenor
Voice Role (@1 or @8)
Bassus
Voice Role (@5)
Tenor
Voice Role (Above)
Tenor
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
Text Treatment
Text Representation

Comments

Rhythmically active PEn = shame?
35–37 Un jeune moine bien adroit 9 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Superius
Voice Role (Dux 2)
Tenor
Voice Role (@1 or @8)
Tenor
Voice Role (@5)
Superius
Voice Role (Above)
Superius
Voice Role (Below)
Tenor
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
37–38 Un jeune moine bien adroit 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Superius
Voice Role (@5)
Superius
Voice Role (Above)
Superius
Other Counterpoint
Stretto Fuga
39–40 Un jeune moine bien adroit 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
40–42 Un jeune moine bien adroit 11 Details
Analysis ID
Analyst
24
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 (@1 or @8)
Superius
Voice Role (@4)
Tenor
Voice Role (Above)
Superius
Voice Role (Below)
Tenor
Other Counterpoint
Invertible Counterpoint, Stretto Fuga

Comments

Rhythm slightly augmented in T
42–43 Un jeune moine bien adroit 11 Details
Analysis ID
Analyst
24
Is Cadence?
No
44–45 Un jeune moine bien adroit 11 Details
Analysis ID
Analyst
24
Is Cadence?
No
44–47 Un jeune moine bien adroit 12 Details
Analysis ID
Analyst
24
Is Cadence?
No
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Superius
Voice Role (@5)
Superius
Voice Role (Above)
Superius
47–48 Un jeune moine bien adroit 12 Details
Analysis ID
Analyst
24
Is Cadence?
No
48–49 Un jeune moine bien adroit 13 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Declamation

Comments

Repetition of "non"
48–48 Un jeune moine bien adroit 13 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Overlap
52–52 Un jeune moine bien adroit 13 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Bassus
Voice Role (Dux 2)
Tenor
Voice Role (@4)
Tenor
Voice Role (Above)
Tenor
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
54–55 Un jeune moine bien adroit 13 Details
Analysis ID
Analyst
24
Is Cadence?
No
55–56 Un jeune moine bien adroit 14 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Tenor
Voice Role (@4)
Tenor
Voice Role (Below)
Tenor
Other Counterpoint
Stretto Fuga
57–58 Un jeune moine bien adroit 14 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Bassus
Voice Role (Dux 2)
Contratenor
Voice Role (@1 or @8)
Bassus
Voice Role (@5)
Contratenor
Voice Role (Above)
Contratenor
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
59–60 Un jeune moine bien adroit 14 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Bassus
Voice Role (@1 or @8)
Bassus
Voice Role (Below)
Bassus
60–63 Un jeune moine bien adroit 14 Details
Analysis ID
Analyst
24
Is Cadence?
No
2–5 Ma bouche n'ose dire/ Mon apparent desir 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dance
4–4 Ma bouche n'ose dire/ Mon apparent desir 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
6–7 Ma bouche n'ose dire/ Mon apparent desir 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
4–7 Ma bouche n'ose dire/ Mon apparent desir 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dance
7–10 Ma bouche n'ose dire/ Mon apparent desir 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?

Comments

Ct/T m. 7.3
10–13 Ma bouche n'ose dire/ Mon apparent desir 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?

Comments

B 13.1
13–14 Ma bouche n'ose dire/ Mon apparent desir 5 Details
Analysis ID
Analyst
24
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
Voice Role (@1 or @8)
Superius
Other Counterpoint
Invertible Counterpoint
14–15 Ma bouche n'ose dire/ Mon apparent desir 5 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

Plagal to C in 15.1
15–16 Ma bouche n'ose dire/ Mon apparent desir 6 Details
Analysis ID
Analyst
24
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)
Superius
Voice Role (@4)
Tenor
Voice Role (Above)
Tenor
Other Counterpoint
Stretto Fuga
18–20 Ma bouche n'ose dire/ Mon apparent desir 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dance
20–21 Ma bouche n'ose dire/ Mon apparent desir 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
21–22 Ma bouche n'ose dire/ Mon apparent desir 8 Details
Analysis ID
Analyst
24
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
Voice Role (@5)
Bassus
Voice Role (Below)
Tenor
Other Counterpoint
Stretto Fuga
24–25 Ma bouche n'ose dire/ Mon apparent desir 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
1–2 Plus je la voy de beaucoup estimée 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dactyll
4–6 Plus je la voy de beaucoup estimée 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Fauxbourdon
4–7 Plus je la voy de beaucoup estimée 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
7–8 Plus je la voy de beaucoup estimée 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
9–9 Plus je la voy de beaucoup estimée 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
10–12 Plus je la voy de beaucoup estimée 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Fauxbourdon
12–13 Plus je la voy de beaucoup estimée 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
13–15 Plus je la voy de beaucoup estimée 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
15–16 Plus je la voy de beaucoup estimée 3 Details
Analysis ID
Analyst
24
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 (@4)
Contratenor
Voice Role (Below)
Bassus
Other Counterpoint
Stretto Fuga
17–18 Plus je la voy de beaucoup estimée 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Pause
19–26 Plus je la voy de beaucoup estimée 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
1–6 Comme le feu sans chaleur ne peut estre 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (Dux 2)
Bassus
Voice Role (Comes 2)
Contratenor
Voice Role (@1 or @8)
Tenor
Voice Role (@5)
Contratenor
Voice Role (Above)
Contratenor
Voice Role (Below)
Tenor
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
7–7 Comme le feu sans chaleur ne peut estre 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
7–9 Comme le feu sans chaleur ne peut estre 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Superius
Voice Role (Dux 2)
Contratenor
Voice Role (@1 or @8)
Superius
Voice Role (Above)
Superius
Voice Role (Below)
Contratenor
Other Counterpoint
Stretto Fuga
Text Treatment
Text Overlap
9–11 Comme le feu sans chaleur ne peut estre 2 Details
Analysis ID
Analyst
24
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 (@1 or @8)
Contratenor
Voice Role (Above)
Contratenor
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint
11–13 Comme le feu sans chaleur ne peut estre 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Tenor
Voice Role (Dux 2)
Contratenor
Voice Role (@1 or @8)
Contratenor
Voice Role (@5)
Tenor
Voice Role (Above)
Tenor
14–15 Comme le feu sans chaleur ne peut estre 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
16–17 Comme le feu sans chaleur ne peut estre 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Contratenor
Voice Role (@4)
Contratenor
Voice Role (Above)
Contratenor
17–19 Comme le feu sans chaleur ne peut estre 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Stagger

Comments

B late
20–20 Comme le feu sans chaleur ne peut estre 3 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

No 7>8
22–23 Comme le feu sans chaleur ne peut estre 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
24–25 Comme le feu sans chaleur ne peut estre 4 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

No 7>8
24–26 Comme le feu sans chaleur ne peut estre 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Simple
28–29 Comme le feu sans chaleur ne peut estre 5 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

No 2>1
30–32 Comme le feu sans chaleur ne peut estre 6 Details
Analysis ID
Analyst
24
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
32–34 Comme le feu sans chaleur ne peut estre 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
34–35 Comme le feu sans chaleur ne peut estre 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Superius
Voice Role (Dux 2)
Bassus
Voice Role (@1 or @8)
Bassus
Voice Role (@4)
Superius
Voice Role (Above)
Superius
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
33–34 Comme le feu sans chaleur ne peut estre 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
37–38 Comme le feu sans chaleur ne peut estre 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
40–41 Comme le feu sans chaleur ne peut estre 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
41–45 Comme le feu sans chaleur ne peut estre 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (Dux 2)
Bassus
Voice Role (Comes 2)
Contratenor
Voice Role (@1 or @8)
Tenor
Voice Role (@5)
Contratenor
Voice Role (Above)
Contratenor
Voice Role (Below)
Tenor
Other Counterpoint
Invertible Counterpoint
45–47 Comme le feu sans chaleur ne peut estre 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
47–47 Comme le feu sans chaleur ne peut estre 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
47–49 Comme le feu sans chaleur ne peut estre 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Bassus
Voice Role (Dux 2)
Superius
Voice Role (@1 or @8)
Bassus
Voice Role (Above)
Superius
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
49–51 Comme le feu sans chaleur ne peut estre 8 Details
Analysis ID
Analyst
24
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 (@1 or @8)
Bassus
Voice Role (@4)
Contratenor
Voice Role (Above)
Contratenor
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
51–53 Comme le feu sans chaleur ne peut estre 8 Details
Analysis ID
Analyst
24
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
55–55 Comme le feu sans chaleur ne peut estre 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
1–2 En l'eau, en l'eau jette toy vistement 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
NIM
Voice Role (Upper Voice 1 NIM)
Superius
Voice Role (Lower Voice 1 NIM)
Tenor
Voice Role (Upper Voice 2 NIM)
Contratenor
Voice Role (Lower Voice 2 NIM)
Bassus
Voice Role (@5)
Contratenor
Voice Role (Below)
Contratenor
2–4 En l'eau, en l'eau jette toy vistement 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Fauxbourdon
3–4 En l'eau, en l'eau jette toy vistement 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
4–5 En l'eau, en l'eau jette toy vistement 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
NIM
Voice Role (Upper Voice 1 NIM)
Superius
Voice Role (Lower Voice 1 NIM)
Bassus
Voice Role (Upper Voice 2 NIM)
Contratenor
Voice Role (Lower Voice 2 NIM)
Tenor
Voice Role (@4)
Tenor
Voice Role (Below)
Tenor
Other Counterpoint
Invertible Counterpoint
5–8 En l'eau, en l'eau jette toy vistement 2 Details
Analysis ID
Analyst
24
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
8–9 En l'eau, en l'eau jette toy vistement 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
5–12 En l'eau, en l'eau jette toy vistement 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
12–17 En l'eau, en l'eau jette toy vistement 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
17–20 En l'eau, en l'eau jette toy vistement 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Stagger

Comments

Ct late
17–20 En l'eau, en l'eau jette toy vistement 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Fauxbourdon
20–21 En l'eau, en l'eau jette toy vistement 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
21–23 En l'eau, en l'eau jette toy vistement 6 Details
Analysis ID
Analyst
24
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
Voice Role (@1 or @8)
Tenor
Voice Role (Below)
Tenor

Comments

Minor tonal variance in B
23–24 En l'eau, en l'eau jette toy vistement 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
25–27 En l'eau, en l'eau jette toy vistement 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Simple
26–26 En l'eau, en l'eau jette toy vistement 7 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

No 7>8
26–28 En l'eau, en l'eau jette toy vistement 7 Details
Analysis ID
Analyst
24
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
Voice Role (@5)
Bassus
Voice Role (Below)
Tenor
Other Counterpoint
Stretto Fuga
28–29 En l'eau, en l'eau jette toy vistement 7 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

No 2>1
29–34 En l'eau, en l'eau jette toy vistement 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?

Comments

Ct m. 34
1–2 Ung doulx baiser m'est bien permis de prendre 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Stagger

Comments

S early
7–7 Ung doulx baiser m'est bien permis de prendre 1 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

T 2>3 instead of 2>1
5–6 Ung doulx baiser m'est bien permis de prendre 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Overlap
10–12 Ung doulx baiser m'est bien permis de prendre 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Tenor
Voice Role (Dux 2)
Superius
Voice Role (@1 or @8)
Superius
Voice Role (@5)
Tenor
Voice Role (Above)
Tenor
Text Treatment
Text Overlap
14–15 Ung doulx baiser m'est bien permis de prendre 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
21–22 Ung doulx baiser m'est bien permis de prendre 4 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

Tenor 2>3
22–23 Ung doulx baiser m'est bien permis de prendre 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
4
Repeat, Exact or Varied?

Comments

Authentic CAD in 23
21–23 Ung doulx baiser m'est bien permis de prendre 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
1–4 Triste et marry, pensif, melancolique 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Stagger

Comments

Ct late
1–2 Triste et marry, pensif, melancolique 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
4–4 Triste et marry, pensif, melancolique 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Representation

Comments

Phrygian on "melancolique"
5–8 Triste et marry, pensif, melancolique 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
28–29 Triste et marry, pensif, melancolique 11 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Stagger

Comments

Ct early
8–10 Triste et marry, pensif, melancolique 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn Tonal
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
Voice Role (@4)
Bassus
Voice Role (Above)
Superius
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
10–10 Triste et marry, pensif, melancolique 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Simple
11–11 Triste et marry, pensif, melancolique 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
11–12 Triste et marry, pensif, melancolique 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Superius
Voice Role (@1 or @8)
Superius
12–13 Triste et marry, pensif, melancolique 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
13–13 Triste et marry, pensif, melancolique 4 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

Ct 2>3
15–16 Triste et marry, pensif, melancolique 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dactyll
Text Treatment
Text Representation

Comments

B missing for "plain de proces"
16–18 Triste et marry, pensif, melancolique 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dance
17–18 Triste et marry, pensif, melancolique 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Representation

Comments

No cadential motion on "calamite"
18–19 Triste et marry, pensif, melancolique 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Tenor
Voice Role (@1 or @8)
Tenor
Voice Role (@5)
Contratenor
Voice Role (Above)
Tenor
Other Counterpoint
Stretto Fuga
19–20 Triste et marry, pensif, melancolique 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (Dux 2)
Contratenor
Voice Role (@4)
Tenor
Voice Role (Above)
Contratenor
Voice Role (Below)
Tenor
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
20–21 Triste et marry, pensif, melancolique 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Stagger

Comments

Ct late
22–24 Triste et marry, pensif, melancolique 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Simple
23–24 Triste et marry, pensif, melancolique 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
24–25 Triste et marry, pensif, melancolique 9 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Declamation

Comments

Repetition of "coqu" mocking, sort of sounds like a chicken
25–26 Triste et marry, pensif, melancolique 9 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Simple
Text Treatment
Text Representation

Comments

No B for cowardly cuckold
26–27 Triste et marry, pensif, melancolique 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dactyll
27–28 Triste et marry, pensif, melancolique 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Superius
Voice Role (@4)
Superius
Voice Role (Above)
Superius
Text Treatment
Text Representation

Comments

Lack of B is immasculating, such as the condition described in the text
30–32 Triste et marry, pensif, melancolique 12 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dactyll
Text Treatment
Text Representation

Comments

Violent rhythm = beating
33–34 Triste et marry, pensif, melancolique 13 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Superius
Voice Role (@1 or @8)
Superius
Voice Role (Above)
Superius
38–40 Triste et marry, pensif, melancolique 13 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
13
Repeat, Exact or Varied?
31–32 Triste et marry, pensif, melancolique 13 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Comes 1)
Tenor
Voice Role (Dux 2)
Bassus
Voice Role (@5)
Bassus
Voice Role (Below)
Bassus
34–34 Triste et marry, pensif, melancolique 14 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Overlap
37–38 Triste et marry, pensif, melancolique 14 Details
Analysis ID
Analyst
24
Is Cadence?
No
40–45 Triste et marry, pensif, melancolique 14 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
14
Repeat, Exact or Varied?

Comments

M. 45 Ct >A
34–37 Triste et marry, pensif, melancolique 14 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Tenor
Voice Role (@5)
Tenor
Voice Role (Below)
Tenor
1–2 Un mesnagier qui sa femme accusoit 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dactyll
2–3 Un mesnagier qui sa femme accusoit 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn Stacked
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Contratenor
Voice Role (Dux 2)
Superius
Voice Role (@5)
Contratenor
Voice Role (Above)
Contratenor
Other Counterpoint
Stretto Fuga
3–4 Un mesnagier qui sa femme accusoit 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
ID
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Bassus
Voice Role (Dux 2)
Contratenor
Voice Role (Comes 2)
Superius
Voice Role (@5)
Superius
Voice Role (@4)
Bassus
Voice Role (Above)
Contratenor
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
5–8 Un mesnagier qui sa femme accusoit 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Bassus
Voice Role (Dux 2)
Tenor
Voice Role (@1 or @8)
Bassus
Voice Role (Above)
Tenor
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint
9–11 Un mesnagier qui sa femme accusoit 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Bassus
Voice Role (@1 or @8)
Bassus
Voice Role (Below)
Bassus
12–12 Un mesnagier qui sa femme accusoit 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
4–5 Un mesnagier qui sa femme accusoit 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Overlap
8–9 Un mesnagier qui sa femme accusoit 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
1–5 Un mesnagier qui sa femme accusoit 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
4–12 Un mesnagier qui sa femme accusoit 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
13–14 Un mesnagier qui sa femme accusoit 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Simple
Text Treatment
Text Declamation
15–17 Un mesnagier qui sa femme accusoit 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Bassus
Voice Role (@1 or @8)
Bassus
Voice Role (Below)
Bassus
17–18 Un mesnagier qui sa femme accusoit 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
19–23 Un mesnagier qui sa femme accusoit 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
ID
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Contratenor
Voice Role (Dux 2)
Tenor
Voice Role (Comes 2)
Bassus
Voice Role (@1 or @8)
Tenor
Voice Role (@5)
Contratenor
Voice Role (Below)
Tenor

Comments

Prefigures by T 18-19
22–23 Un mesnagier qui sa femme accusoit 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Overlap
23–24 Un mesnagier qui sa femme accusoit 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Bassus
Other Counterpoint
Stretto Fuga

Comments

SF also includes S, although no PEn
24–27 Un mesnagier qui sa femme accusoit 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Refrain
Earlier Phrase
6
Repeat, Exact or Varied?

Comments

Repetition of words and music from 6, text more compactly shoehorned into ID
26–28 Un mesnagier qui sa femme accusoit 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
ID
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)
Bassus
Voice Role (@4)
Superius
Voice Role (Above)
Superius
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga

Comments

Ct/T @1
27–30 Un mesnagier qui sa femme accusoit 7 Details
Analysis ID
Analyst
24
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 (@5)
Contratenor
Voice Role (@4)
Superius
Voice Role (Above)
Superius
Voice Role (Below)
Tenor
Other Counterpoint
Invertible Counterpoint, Stretto Fuga

Comments

Slightly irregular, but with S above CT and B below T, there is invertible counterpoint
31–33 Un mesnagier qui sa femme accusoit 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn Stacked
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Contratenor
Voice Role (Dux 2)
Superius
Voice Role (@5)
Contratenor
Voice Role (@4)
Superius
Voice Role (Above)
Contratenor
Other Counterpoint
Stretto Fuga
33–34 Un mesnagier qui sa femme accusoit 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
34–34 Un mesnagier qui sa femme accusoit 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
35–37 Un mesnagier qui sa femme accusoit 8 Details
Analysis ID
Analyst
24
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
36–38 Un mesnagier qui sa femme accusoit 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Bassus
Voice Role (@5)
Bassus
Voice Role (Below)
Bassus
Other Counterpoint
Stretto Fuga
40–41 Un mesnagier qui sa femme accusoit 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
41–43 Un mesnagier qui sa femme accusoit 9 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dance
43–44 Un mesnagier qui sa femme accusoit 9 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Bassus
Voice Role (Dux 2)
Tenor
Voice Role (@5)
Tenor
Voice Role (Above)
Tenor
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
44–46 Un mesnagier qui sa femme accusoit 9 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Superius
Voice Role (Dux 2)
Bassus
Voice Role (@1 or @8)
Bassus
Voice Role (@5)
Superius
Voice Role (Above)
Superius
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
46–48 Un mesnagier qui sa femme accusoit 9 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Bassus
Voice Role (Dux 2)
Tenor
Voice Role (Comes 2)
Superius
Voice Role (@5)
Bassus
Voice Role (@4)
Tenor
Voice Role (Above)
Tenor
Voice Role (Below)
Bassus
Text Treatment
Text Declamation

Comments

Also S/B P3s, mocking repetition of "coqu" in sequence
48–50 Un mesnagier qui sa femme accusoit 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Contratenor
Voice Role (Dux 2)
Bassus
Voice Role (@1 or @8)
Contratenor
Voice Role (@5)
Bassus
Voice Role (Below)
Bassus
Other Counterpoint
Stretto Fuga
Text Treatment
Text Overlap
49–52 Un mesnagier qui sa femme accusoit 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Superius
Voice Role (@1 or @8)
Superius
Voice Role (Above)
Superius
Other Counterpoint
Stretto Fuga
Text Treatment
Text Declamation

Comments

Repetition of "tant"
52–52 Un mesnagier qui sa femme accusoit 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
52–52 Un mesnagier qui sa femme accusoit 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
52–53 Un mesnagier qui sa femme accusoit 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
51–52 Un mesnagier qui sa femme accusoit 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Tenor
Voice Role (Dux 2)
Bassus
Voice Role (@1 or @8)
Tenor
Voice Role (@5)
Bassus
Voice Role (Below)
Bassus
Other Counterpoint
Stretto Fuga
53–57 Un mesnagier qui sa femme accusoit 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
10
Repeat, Exact or Varied?

Comments

Addition material underneath S at end
57–58 Un mesnagier qui sa femme accusoit 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Tenor
Voice Role (@5)
Tenor
Voice Role (Below)
Tenor
Other Counterpoint
Stretto Fuga
Repeat Kind
Refrain
Earlier Phrase
10
Repeat, Exact or Varied?

Comments

Coda with material from mm. 51-53
58–59 Un mesnagier qui sa femme accusoit 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
1–3 S'amour vous a donné mon coeur en gaige 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Tenor
Voice Role (@4)
Tenor
Voice Role (Below)
Tenor
2–5 S'amour vous a donné mon coeur en gaige 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Bassus
Voice Role (@5)
Bassus
Voice Role (Below)
Bassus
6–6 S'amour vous a donné mon coeur en gaige 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
6–9 S'amour vous a donné mon coeur en gaige 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Superius
Voice Role (Dux 2)
Bassus
Voice Role (@5)
Bassus
Voice Role (@4)
Superius
Voice Role (Above)
Superius
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
9–9 S'amour vous a donné mon coeur en gaige 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
10–11 S'amour vous a donné mon coeur en gaige 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
9–12 S'amour vous a donné mon coeur en gaige 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Simple
12–14 S'amour vous a donné mon coeur en gaige 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Bassus
Voice Role (@5)
Bassus
Voice Role (Below)
Bassus
14–15 S'amour vous a donné mon coeur en gaige 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
15–16 S'amour vous a donné mon coeur en gaige 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Stagger

Comments

S late, also part of PEn
15–17 S'amour vous a donné mon coeur en gaige 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Superius
Voice Role (Dux 2)
Tenor
Voice Role (@1 or @8)
Superius
Voice Role (Above)
Superius
Voice Role (Below)
Tenor
Other Counterpoint
Invertible Counterpoint, Stretto Fuga

Comments

Also HR stagger
18–19 S'amour vous a donné mon coeur en gaige 4 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

S 2>3
18–21 S'amour vous a donné mon coeur en gaige 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
ID
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Bassus
Voice Role (Dux 2)
Superius
Voice Role (Comes 2)
Tenor
Voice Role (@1 or @8)
Bassus
Voice Role (@4)
Superius
Voice Role (Above)
Superius
Voice Role (Below)
Bassus
Other Counterpoint
Stretto Fuga
19–20 S'amour vous a donné mon coeur en gaige 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Representation

Comments

"Si le voulez" in T is basically an inversion of "vous le voulez" from phr. 4
23–24 S'amour vous a donné mon coeur en gaige 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Stagger

Comments

S early, almost romanesca
24–25 S'amour vous a donné mon coeur en gaige 6 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Stagger

Comments

S late
27–28 S'amour vous a donné mon coeur en gaige 6 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

Ct 2>3
28–32 S'amour vous a donné mon coeur en gaige 7 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?

Comments

B m. 32.3
32–34 S'amour vous a donné mon coeur en gaige 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Simple
35–38 S'amour vous a donné mon coeur en gaige 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dance
37–38 S'amour vous a donné mon coeur en gaige 8 Details
Analysis ID
Analyst
24
Is Cadence?
No
39–39 S'amour vous a donné mon coeur en gaige 9 Details
Analysis ID
Analyst
24
Is Cadence?
No
41–42 S'amour vous a donné mon coeur en gaige 9 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Stagger

Comments

B early
42–43 S'amour vous a donné mon coeur en gaige 9 Details
Analysis ID
Analyst
24
Is Cadence?
No
48–54 S'amour vous a donné mon coeur en gaige 9 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
9
Repeat, Exact or Varied?
43–45 S'amour vous a donné mon coeur en gaige 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Simple
46–47 S'amour vous a donné mon coeur en gaige 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Bassus
Voice Role (Dux 2)
Tenor
Voice Role (@1 or @8)
Bassus
Voice Role (@5)
Tenor
Voice Role (Above)
Tenor
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
47–48 S'amour vous a donné mon coeur en gaige 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
54–59 S'amour vous a donné mon coeur en gaige 10 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Final Repeat
Earlier Phrase
10
Repeat, Exact or Varied?

Comments

S m. 58.3
1–1 Or sus or sus qu'on se resveille 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Dactyll
1–2 Or sus or sus qu'on se resveille 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Simple
1–5 Or sus or sus qu'on se resveille 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
5–6 Or sus or sus qu'on se resveille 1 Details
Analysis ID
Analyst
24
Is Cadence?
No
6–9 Or sus or sus qu'on se resveille 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
ID
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Bassus
Voice Role (Dux 2)
Superius
Voice Role (Comes 2)
Tenor
Voice Role (@5)
Superius
Voice Role (Above)
Superius
Voice Role (Below)
Bassus
11–12 Or sus or sus qu'on se resveille 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Tenor
Voice Role (@4)
Tenor
Voice Role (Above)
Tenor
Other Counterpoint
Stretto Fuga
13–14 Or sus or sus qu'on se resveille 2 Details
Analysis ID
Analyst
24
Is Cadence?
No
14–15 Or sus or sus qu'on se resveille 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Presentation Type
HR Simple
16–17 Or sus or sus qu'on se resveille 3 Details
Analysis ID
Analyst
24
Is Cadence?
No
Text Treatment
Text Representation

Comments

Phrygian on "sommeille"
17–18 Or sus or sus qu'on se resveille 3 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

Almost Fauxbourdon w/ S
18–19 Or sus or sus qu'on se resveille 3 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

Ct/B phrygian, INV, DISP to E in 18
17–23 Or sus or sus qu'on se resveille 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
Other Formulas
Romanesca

Comments

Romanesca 20-21
21–21 Or sus or sus qu'on se resveille 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
17–23 Or sus or sus qu'on se resveille 4 Details
Analysis ID
Analyst
24
Is Cadence?
No

Comments

Almost NIM, almost Romanesca
23–24 Or sus or sus qu'on se resveille 4 Details
Analysis ID
Analyst
24
Is Cadence?
No
25–30 Or sus or sus qu'on se resveille 5 Details
Analysis ID
Analyst
24
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?

Comments

Ct. m. 30, D instead of B