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
|