Greenberg, Jamie

Analyses

Measures	Piece	Phrase Number
1–2	Vous me changez pour un aultre, madame	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
2–3	Vous me changez pour un aultre, madame	1	Details
Analysis ID Analyst 26 Is Cadence? No
4–4	Vous me changez pour un aultre, madame	1	Details
Analysis ID Analyst 26 Is Cadence? No
6–7	Vous me changez pour un aultre, madame	2	Details
Analysis ID Analyst 26 Is Cadence? No
8–8	Vous me changez pour un aultre, madame	2	Details
Analysis ID Analyst 26 Is Cadence? No
1–4	Vous me changez pour un aultre, madame	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
4–8	Vous me changez pour un aultre, madame	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
9–10	Vous me changez pour un aultre, madame	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
11–12	Vous me changez pour un aultre, madame	5	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
11–12	Vous me changez pour un aultre, madame	6	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
13–16	Vous me changez pour un aultre, madame	6	Details
Analysis ID Analyst 26 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 (@5) Superius Voice Role (Above) Superius Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint Comments Statement in S has extra notes interpolated (m. 15).
16–18	Vous me changez pour un aultre, madame	6	Details
Analysis ID Analyst 26 Is Cadence? No Comments Delayed resolution to ^3 in superius.
19–22	Vous me changez pour un aultre, madame	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
19–20	Vous me changez pour un aultre, madame	7	Details
Analysis ID Analyst 26 Is Cadence? No
21–21	Vous me changez pour un aultre, madame	7	Details
Analysis ID Analyst 26 Is Cadence? No
22–22	Vous me changez pour un aultre, madame	7	Details
Analysis ID Analyst 26 Is Cadence? No
23–27	Vous me changez pour un aultre, madame	8	Details
Analysis ID Analyst 26 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) Contratenor
27–28	Vous me changez pour un aultre, madame	8	Details
Analysis ID Analyst 26 Is Cadence? No
1–3	Un gros prieur son petit filz baisoit	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Dance Text Treatment Text Representation Comments Dance setting bears comic relationship to the "gros prieur."
1–3	Un gros prieur son petit filz baisoit	1	Details
Analysis ID Analyst 26 Is Cadence? No
4–5	Un gros prieur son petit filz baisoit	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple Comments Shift to duple meter.
4–5	Un gros prieur son petit filz baisoit	1	Details
Analysis ID Analyst 26 Is Cadence? No
6–7	Un gros prieur son petit filz baisoit	2	Details
Analysis ID Analyst 26 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
7–8	Un gros prieur son petit filz baisoit	2	Details
Analysis ID Analyst 26 Is Cadence? No
8–12	Un gros prieur son petit filz baisoit	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
12–15	Un gros prieur son petit filz baisoit	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Note values adjusted to text. T & B have new material mm. 12 -13.
15–15	Un gros prieur son petit filz baisoit	5	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
15–16	Un gros prieur son petit filz baisoit	5	Details
Analysis ID Analyst 26 Is Cadence? No
15–15	Un gros prieur son petit filz baisoit	5	Details
Analysis ID Analyst 26 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
15–16	Un gros prieur son petit filz baisoit	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Tenor Voice Role (@1 or @8) Tenor Voice Role (Below) Tenor Other Counterpoint Stretto Fuga
16–16	Un gros prieur son petit filz baisoit	5	Details
Analysis ID Analyst 26 Is Cadence? No
17–18	Un gros prieur son petit filz baisoit	6	Details
Analysis ID Analyst 26 Is Cadence? No
18–20	Un gros prieur son petit filz baisoit	6	Details
Analysis ID Analyst 26 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
19–20	Un gros prieur son petit filz baisoit	6	Details
Analysis ID Analyst 26 Is Cadence? No
20–21	Un gros prieur son petit filz baisoit	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
22–23	Un gros prieur son petit filz baisoit	7	Details
Analysis ID Analyst 26 Is Cadence? No
21–22	Un gros prieur son petit filz baisoit	7	Details
Analysis ID Analyst 26 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
22–23	Un gros prieur son petit filz baisoit	7	Details
Analysis ID Analyst 26 Is Cadence? No
23–23	Un gros prieur son petit filz baisoit	8	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
23–24	Un gros prieur son petit filz baisoit	8	Details
Analysis ID Analyst 26 Is Cadence? No
24–24	Un gros prieur son petit filz baisoit	8	Details
Analysis ID Analyst 26 Is Cadence? No Comments CT moves down 2 and T moves down 2.
24–27	Un gros prieur son petit filz baisoit	9	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR
25–26	Un gros prieur son petit filz baisoit	9	Details
Analysis ID Analyst 26 Is Cadence? No
26–27	Un gros prieur son petit filz baisoit	9	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Representation Comments Raised ^3 in T creates major D sonority. This, along with the extreme registers of the structural pair, emphasize the supplication being made.
24–27	Un gros prieur son petit filz baisoit	9	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 9 Repeat, Exact or Varied? Comments All voices enter with minim rather than semiminim.
27–28	Un gros prieur son petit filz baisoit	10	Details
Analysis ID Analyst 26 Is Cadence? No
29–29	Un gros prieur son petit filz baisoit	10	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI
29–29	Un gros prieur son petit filz baisoit	10	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Bassus Voice Role (@5) Bassus Voice Role (Below) Bassus Comments Soggetto echoed in all voices mm. 28 -30.
31–32	Un gros prieur son petit filz baisoit	10	Details
Analysis ID Analyst 26 Is Cadence? No
27–33	Un gros prieur son petit filz baisoit	10	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 10 Repeat, Exact or Varied?
2–4	Si la beaulté doit perir en peu d'heure	1	Details
Analysis ID Analyst 26 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
1–2	Si la beaulté doit perir en peu d'heure	1	Details
Analysis ID Analyst 26 Is Cadence? No
6–6	Si la beaulté doit perir en peu d'heure	1	Details
Analysis ID Analyst 26 Is Cadence? No
7–8	Si la beaulté doit perir en peu d'heure	1	Details
Analysis ID Analyst 26 Is Cadence? No
8–11	Si la beaulté doit perir en peu d'heure	2	Details
Analysis ID Analyst 26 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
9–10	Si la beaulté doit perir en peu d'heure	2	Details
Analysis ID Analyst 26 Is Cadence? No
12–13	Si la beaulté doit perir en peu d'heure	2	Details
Analysis ID Analyst 26 Is Cadence? No
11–13	Si la beaulté doit perir en peu d'heure	2	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Bassus Voice Role (Comes 1) Tenor Voice Role (@1 or @8) Tenor
14–15	Si la beaulté doit perir en peu d'heure	2	Details
Analysis ID Analyst 26 Is Cadence? No
16–16	Si la beaulté doit perir en peu d'heure	2	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
17–19	Si la beaulté doit perir en peu d'heure	3	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
17–18	Si la beaulté doit perir en peu d'heure	3	Details
Analysis ID Analyst 26 Is Cadence? No
21–22	Si la beaulté doit perir en peu d'heure	3	Details
Analysis ID Analyst 26 Is Cadence? No
22–24	Si la beaulté doit perir en peu d'heure	4	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
29–30	Si la beaulté doit perir en peu d'heure	4	Details
Analysis ID Analyst 26 Is Cadence? No
22–32	Si la beaulté doit perir en peu d'heure	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 4 Repeat, Exact or Varied?
1–2	Un fin mary voyant sa chambriere	1	Details
Analysis ID Analyst 26 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
2–4	Un fin mary voyant sa chambriere	1	Details
Analysis ID Analyst 26 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 Comments Each voice in pair identical to those in mm. 1-2, but time interval between voices different.
6–6	Un fin mary voyant sa chambriere	1	Details
Analysis ID Analyst 26 Is Cadence? No
5–6	Un fin mary voyant sa chambriere	2	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
7–8	Un fin mary voyant sa chambriere	2	Details
Analysis ID Analyst 26 Is Cadence? No
9–9	Un fin mary voyant sa chambriere	2	Details
Analysis ID Analyst 26 Is Cadence? No
11–12	Un fin mary voyant sa chambriere	3	Details
Analysis ID Analyst 26 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 (Above) Contratenor Voice Role (Below) Tenor Other Counterpoint Invertible Counterpoint, Stretto Fuga Comments Bassus anticipates subject in mm. 9 -10.
15–15	Un fin mary voyant sa chambriere	3	Details
Analysis ID Analyst 26 Is Cadence? No
15–17	Un fin mary voyant sa chambriere	4	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Bassus Voice Role (Dux 2) Tenor Voice Role (Comes 2) Superius Voice Role (@1 or @8) Tenor Voice Role (@5) Bassus Voice Role (Above) Superius Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint
19–20	Un fin mary voyant sa chambriere	4	Details
Analysis ID Analyst 26 Is Cadence? No
20–20	Un fin mary voyant sa chambriere	4	Details
Analysis ID Analyst 26 Is Cadence? No
20–21	Un fin mary voyant sa chambriere	5	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
20–22	Un fin mary voyant sa chambriere	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Bassus Voice Role (@5) Bassus Voice Role (Below) Bassus Other Counterpoint Stretto Fuga
22–22	Un fin mary voyant sa chambriere	5	Details
Analysis ID Analyst 26 Is Cadence? No
26–26	Un fin mary voyant sa chambriere	5	Details
Analysis ID Analyst 26 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 Text Treatment Text Representation Comments Brief imitation mimics exclamation.
24–25	Un fin mary voyant sa chambriere	5	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Representation Comments Phrase ends with exclamatory direct quotation.
26–27	Un fin mary voyant sa chambriere	6	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
29–30	Un fin mary voyant sa chambriere	6	Details
Analysis ID Analyst 26 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
30–32	Un fin mary voyant sa chambriere	6	Details
Analysis ID Analyst 26 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
32–33	Un fin mary voyant sa chambriere	6	Details
Analysis ID Analyst 26 Is Cadence? No
32–33	Un fin mary voyant sa chambriere	7	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
32–35	Un fin mary voyant sa chambriere	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Superius Voice Role (Comes 1) Contratenor Voice Role (@5) Contratenor Voice Role (Below) Contratenor
36–37	Un fin mary voyant sa chambriere	7	Details
Analysis ID Analyst 26 Is Cadence? No
37–38	Un fin mary voyant sa chambriere	7	Details
Analysis ID Analyst 26 Is Cadence? No
39–39	Un fin mary voyant sa chambriere	7	Details
Analysis ID Analyst 26 Is Cadence? No Comments Bassus to B-flat.
39–39	Un fin mary voyant sa chambriere	8	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
42–43	Un fin mary voyant sa chambriere	8	Details
Analysis ID Analyst 26 Is Cadence? No
44–45	Un fin mary voyant sa chambriere	8	Details
Analysis ID Analyst 26 Is Cadence? No
49–55	Un fin mary voyant sa chambriere	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied? Comments mm. 49 -51 varied.
45–48	Un fin mary voyant sa chambriere	9	Details
Analysis ID Analyst 26 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
48–49	Un fin mary voyant sa chambriere	9	Details
Analysis ID Analyst 26 Is Cadence? No
55–59	Un fin mary voyant sa chambriere	9	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 9 Repeat, Exact or Varied? Comments Final ending.
1–2	Ma mère veult que je file	1	Details
Analysis ID Analyst 26 Is Cadence? No
1–3	Ma mère veult que je file	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
2–3	Ma mère veult que je file	1	Details
Analysis ID Analyst 26 Is Cadence? No
29–31	Ma mère veult que je file	1	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Da Capo Earlier Phrase 1 Repeat, Exact or Varied? Comments Homorhythmic phrase begins with minim rather than semibreve.
3–6	Ma mère veult que je file	2	Details
Analysis ID Analyst 26 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
7–7	Ma mère veult que je file	2	Details
Analysis ID Analyst 26 Is Cadence? No
9–11	Ma mère veult que je file	2	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Repeats only mm. 7-8.
7–11	Ma mère veult que je file	2	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
7–8	Ma mère veult que je file	2	Details
Analysis ID Analyst 26 Is Cadence? No
31–38	Ma mère veult que je file	2	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Da Capo Earlier Phrase 2 Repeat, Exact or Varied?
1–3	Ma mère veult que je file	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
3–12	Ma mère veult que je file	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Second ending.
12–14	Ma mère veult que je file	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
13–14	Ma mère veult que je file	5	Details
Analysis ID Analyst 26 Is Cadence? No
14–15	Ma mère veult que je file	6	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
16–17	Ma mère veult que je file	6	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
17–20	Ma mère veult que je file	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
20–21	Ma mère veult que je file	7	Details
Analysis ID Analyst 26 Is Cadence? No
23–23	Ma mère veult que je file	7	Details
Analysis ID Analyst 26 Is Cadence? No
23–24	Ma mère veult que je file	8	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
25–26	Ma mère veult que je file	8	Details
Analysis ID Analyst 26 Is Cadence? No
26–28	Ma mère veult que je file	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 8 Repeat, Exact or Varied? Comments S and CT begin with semiminims. Variation at cadence.
1–3	Joye et santé, ma demoiselle	1	Details
Analysis ID Analyst 26 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
4–5	Joye et santé, ma demoiselle	1	Details
Analysis ID Analyst 26 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
5–6	Joye et santé, ma demoiselle	1	Details
Analysis ID Analyst 26 Is Cadence? No
6–6	Joye et santé, ma demoiselle	2	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
6–8	Joye et santé, ma demoiselle	2	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Superius Voice Role (Comes 1) Bassus Voice Role (@1 or @8) Bassus Voice Role (Below) Bassus
10–11	Joye et santé, ma demoiselle	2	Details
Analysis ID Analyst 26 Is Cadence? No
11–13	Joye et santé, ma demoiselle	3	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
12–13	Joye et santé, ma demoiselle	3	Details
Analysis ID Analyst 26 Is Cadence? No
13–15	Joye et santé, ma demoiselle	4	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple Other Formulas Romanesca
14–15	Joye et santé, ma demoiselle	4	Details
Analysis ID Analyst 26 Is Cadence? No
17–18	Joye et santé, ma demoiselle	5	Details
Analysis ID Analyst 26 Is Cadence? No
18–19	Joye et santé, ma demoiselle	5	Details
Analysis ID Analyst 26 Is Cadence? No
19–21	Joye et santé, ma demoiselle	6	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
20–21	Joye et santé, ma demoiselle	6	Details
Analysis ID Analyst 26 Is Cadence? No
21–26	Joye et santé, ma demoiselle	7	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Da Capo Earlier Phrase 1 Repeat, Exact or Varied? Comments T starts with semibreve.
26–31	Joye et santé, ma demoiselle	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Da Capo Earlier Phrase 2 Repeat, Exact or Varied? Comments Final ending.
31–34	Joye et santé, ma demoiselle	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied? Comments Repeats only mm. 29 -31. Entry of voices varied in m. 31.
1–1	Jouons beau jeu tout en riant	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
1–2	Jouons beau jeu tout en riant	1	Details
Analysis ID Analyst 26 Is Cadence? No
2–4	Jouons beau jeu tout en riant	1	Details
Analysis ID Analyst 26 Is Cadence? No
2–4	Jouons beau jeu tout en riant	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Superius Voice Role (Comes 1) Bassus Voice Role (@4) Bassus Voice Role (Below) Bassus Text Treatment Text Representation Comments The alternation between two pitches in the soggetto imitates laughter.
4–4	Jouons beau jeu tout en riant	1	Details
Analysis ID Analyst 26 Is Cadence? No
4–4	Jouons beau jeu tout en riant	2	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
5–6	Jouons beau jeu tout en riant	2	Details
Analysis ID Analyst 26 Is Cadence? No
7–7	Jouons beau jeu tout en riant	2	Details
Analysis ID Analyst 26 Is Cadence? No
8–11	Jouons beau jeu tout en riant	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied? Comments Slight variation mm. 8-9.
11–14	Jouons beau jeu tout en riant	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Ct and B in m. 13; roles of non-structural voices different at cadence.
14–14	Jouons beau jeu tout en riant	5	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
14–16	Jouons beau jeu tout en riant	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type ID Voice Role (Dux 1) Bassus Voice Role (Comes 1) Tenor Voice Role (Dux 2) Superius Voice Role (Comes 2) Contratenor Voice Role (@5) Contratenor Voice Role (@4) Tenor Voice Role (Above) Tenor Voice Role (Below) Contratenor Other Counterpoint Invertible Counterpoint, Stretto Fuga
16–18	Jouons beau jeu tout en riant	5	Details
Analysis ID Analyst 26 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 Comments Identical to first duo in ID in earlier part of phrase (mm. 14 -15).
19–19	Jouons beau jeu tout en riant	5	Details
Analysis ID Analyst 26 Is Cadence? No
19–21	Jouons beau jeu tout en riant	6	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
21–21	Jouons beau jeu tout en riant	6	Details
Analysis ID Analyst 26 Is Cadence? No
22–23	Jouons beau jeu tout en riant	6	Details
Analysis ID Analyst 26 Is Cadence? No
23–24	Jouons beau jeu tout en riant	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Stagger
24–24	Jouons beau jeu tout en riant	7	Details
Analysis ID Analyst 26 Is Cadence? No
25–27	Jouons beau jeu tout en riant	8	Details
Analysis ID Analyst 26 Is Cadence? No
27–27	Jouons beau jeu tout en riant	8	Details
Analysis ID Analyst 26 Is Cadence? No
27–29	Jouons beau jeu tout en riant	9	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Bassus Voice Role (Comes 1) Tenor Voice Role (Dux 2) Superius Voice Role (@1 or @8) Tenor Voice Role (Above) Superius
28–30	Jouons beau jeu tout en riant	9	Details
Analysis ID Analyst 26 Is Cadence? No
30–31	Jouons beau jeu tout en riant	9	Details
Analysis ID Analyst 26 Is Cadence? No
31–32	Jouons beau jeu tout en riant	10	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Stagger
31–33	Jouons beau jeu tout en riant	10	Details
Analysis ID Analyst 26 Is Cadence? No
34–36	Jouons beau jeu tout en riant	10	Details
Analysis ID Analyst 26 Is Cadence? No
38–39	Jouons beau jeu tout en riant	10	Details
Analysis ID Analyst 26 Is Cadence? No
1–2	Dire me fault par desespoir contrainct	1	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Declamation
2–5	Dire me fault par desespoir contrainct	1	Details
Analysis ID Analyst 26 Is Cadence? No
5–5	Dire me fault par desespoir contrainct	1	Details
Analysis ID Analyst 26 Is Cadence? No
9–9	Dire me fault par desespoir contrainct	1	Details
Analysis ID Analyst 26 Is Cadence? No
10–11	Dire me fault par desespoir contrainct	1	Details
Analysis ID Analyst 26 Is Cadence? No
9–11	Dire me fault par desespoir contrainct	2	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
11–16	Dire me fault par desespoir contrainct	2	Details
Analysis ID Analyst 26 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 Other Counterpoint Stretto Fuga Comments 3 SB between entries.
13–14	Dire me fault par desespoir contrainct	2	Details
Analysis ID Analyst 26 Is Cadence? No
13–13	Ho le meschant qui a ployé	5	Details
Analysis ID Analyst 26 Is Cadence? No
16–18	Dire me fault par desespoir contrainct	2	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Representation Comments Bassus doesn't finish phrase until m. 18 for "mal endurer."
16–18	Dire me fault par desespoir contrainct	3	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
23–23	Dire me fault par desespoir contrainct	3	Details
Analysis ID Analyst 26 Is Cadence? No
26–27	Dire me fault par desespoir contrainct	3	Details
Analysis ID Analyst 26 Is Cadence? No Comments Ct doesn't finish phrase until m. 27.
26–27	Dire me fault par desespoir contrainct	4	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
26–28	Dire me fault par desespoir contrainct	4	Details
Analysis ID Analyst 26 Is Cadence? No
29–30	Dire me fault par desespoir contrainct	4	Details
Analysis ID Analyst 26 Is Cadence? No
33–34	Dire me fault par desespoir contrainct	4	Details
Analysis ID Analyst 26 Is Cadence? No
26–36	Dire me fault par desespoir contrainct	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 4 Repeat, Exact or Varied? Comments Final ending.
1–3	Or my doint Dieu bonne adventure	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
1–4	Or my doint Dieu bonne adventure	1	Details
Analysis ID Analyst 26 Is Cadence? No
4–5	Or my doint Dieu bonne adventure	1	Details
Analysis ID Analyst 26 Is Cadence? No
6–7	Or my doint Dieu bonne adventure	2	Details
Analysis ID Analyst 26 Is Cadence? No
8–9	Or my doint Dieu bonne adventure	2	Details
Analysis ID Analyst 26 Is Cadence? No
9–11	Or my doint Dieu bonne adventure	3	Details
Analysis ID Analyst 26 Is Cadence? No
14–15	Or my doint Dieu bonne adventure	3	Details
Analysis ID Analyst 26 Is Cadence? No
14–15	Or my doint Dieu bonne adventure	3	Details
Analysis ID Analyst 26 Is Cadence? No
15–15	Or my doint Dieu bonne adventure	4	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
15–17	Or my doint Dieu bonne adventure	4	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Bassus Voice Role (Dux 2) Tenor Voice Role (Comes 2) Superius Voice Role (@1 or @8) Superius Voice Role (@5) Bassus Voice Role (Above) Tenor Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint
15–16	Or my doint Dieu bonne adventure	4	Details
Analysis ID Analyst 26 Is Cadence? No
16–16	Or my doint Dieu bonne adventure	4	Details
Analysis ID Analyst 26 Is Cadence? No
16–18	Or my doint Dieu bonne adventure	4	Details
Analysis ID Analyst 26 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
19–20	Or my doint Dieu bonne adventure	4	Details
Analysis ID Analyst 26 Is Cadence? No
20–21	Or my doint Dieu bonne adventure	4	Details
Analysis ID Analyst 26 Is Cadence? No
15–22	Or my doint Dieu bonne adventure	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 4 Repeat, Exact or Varied? Comments Final ending.
3–4	Ho le meschant qui a ployé	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Dance Text Treatment Text Representation Comments Dance rhythm bears ironic relationship to subject of wickedness.
1–2	Ho le meschant qui a ployé	1	Details
Analysis ID Analyst 26 Is Cadence? No
3–5	Ho le meschant qui a ployé	1	Details
Analysis ID Analyst 26 Is Cadence? No
4–5	Ho le meschant qui a ployé	1	Details
Analysis ID Analyst 26 Is Cadence? No
5–5	Ho le meschant qui a ployé	2	Details
Analysis ID Analyst 26 Is Cadence? No
5–6	Ho le meschant qui a ployé	2	Details
Analysis ID Analyst 26 Is Cadence? No
6–6	Ho le meschant qui a ployé	2	Details
Analysis ID Analyst 26 Is Cadence? No
5–6	Ho le meschant qui a ployé	2	Details
Analysis ID Analyst 26 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) Bassus Voice Role (@5) Superius Voice Role (Above) Superius Voice Role (Below) Bassus
6–6	Ho le meschant qui a ployé	2	Details
Analysis ID Analyst 26 Is Cadence? No
7–11	Ho le meschant qui a ployé	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied? Comments T carries B motive while B rests (m. 7).
11–12	Ho le meschant qui a ployé	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Repetition omits first half-bar of musical phrase.
12–14	Ho le meschant qui a ployé	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
13–14	Ho le meschant qui a ployé	5	Details
Analysis ID Analyst 26 Is Cadence? No
14–17	Ho le meschant qui a ployé	6	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
16–17	Ho le meschant qui a ployé	6	Details
Analysis ID Analyst 26 Is Cadence? No
17–19	Ho le meschant qui a ployé	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Superius Voice Role (Comes 1) Bassus Voice Role (Dux 2) Tenor Voice Role (@5) Bassus Voice Role (Above) Tenor Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint
19–20	Ho le meschant qui a ployé	7	Details
Analysis ID Analyst 26 Is Cadence? No
20–22	Ho le meschant qui a ployé	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Tenor Voice Role (Comes 1) Bassus Voice Role (Dux 2) Contratenor Voice Role (@1 or @8) Contratenor Voice Role (@5) Bassus Voice Role (Above) Contratenor Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint
21–22	Ho le meschant qui a ployé	7	Details
Analysis ID Analyst 26 Is Cadence? No
22–22	Ho le meschant qui a ployé	8	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
22–23	Ho le meschant qui a ployé	8	Details
Analysis ID Analyst 26 Is Cadence? No
23–24	Ho le meschant qui a ployé	8	Details
Analysis ID Analyst 26 Is Cadence? No
26–27	Ho le meschant qui a ployé	8	Details
Analysis ID Analyst 26 Is Cadence? No
17–22	Ho le meschant qui a ployé	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied?
22–28	Ho le meschant qui a ployé	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied? Comments Final ending.
1–3	Au feu d'amour qui ne se peult estaindre	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type NIM Voice Role (Upper Voice 1 NIM) Contratenor Voice Role (Lower Voice 1 NIM) Tenor Voice Role (Upper Voice 2 NIM) Superius Voice Role (Lower Voice 2 NIM) Bassus
1–2	Au feu d'amour qui ne se peult estaindre	1	Details
Analysis ID Analyst 26 Is Cadence? No
2–3	Au feu d'amour qui ne se peult estaindre	1	Details
Analysis ID Analyst 26 Is Cadence? No
5–5	Au feu d'amour qui ne se peult estaindre	1	Details
Analysis ID Analyst 26 Is Cadence? No
6–7	Au feu d'amour qui ne se peult estaindre	1	Details
Analysis ID Analyst 26 Is Cadence? No Comments S and Ct continue and reiterate cadence with incomplete cad. to F (m. 7).
6–7	Au feu d'amour qui ne se peult estaindre	2	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
9–10	Au feu d'amour qui ne se peult estaindre	2	Details
Analysis ID Analyst 26 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
7–9	Au feu d'amour qui ne se peult estaindre	2	Details
Analysis ID Analyst 26 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 Comments Time interval between entries 3 SB.
8–10	Au feu d'amour qui ne se peult estaindre	2	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Bassus Voice Role (Comes 1) Superius Voice Role (@5) Superius Voice Role (Above) Superius Comments Time interval between entries 3 SB.
13–14	Au feu d'amour qui ne se peult estaindre	2	Details
Analysis ID Analyst 26 Is Cadence? No
1–7	Au feu d'amour qui ne se peult estaindre	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
6–14	Au feu d'amour qui ne se peult estaindre	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
15–16	Au feu d'amour qui ne se peult estaindre	5	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Declamation
18–18	Au feu d'amour qui ne se peult estaindre	5	Details
Analysis ID Analyst 26 Is Cadence? No
19–19	Au feu d'amour qui ne se peult estaindre	5	Details
Analysis ID Analyst 26 Is Cadence? No
20–20	Au feu d'amour qui ne se peult estaindre	5	Details
Analysis ID Analyst 26 Is Cadence? No
21–24	Au feu d'amour qui ne se peult estaindre	6	Details
Analysis ID Analyst 26 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) Bassus Voice Role (Above) Contratenor Voice Role (Below) Tenor Other Counterpoint Invertible Counterpoint
25–26	Au feu d'amour qui ne se peult estaindre	6	Details
Analysis ID Analyst 26 Is Cadence? No
26–26	Au feu d'amour qui ne se peult estaindre	6	Details
Analysis ID Analyst 26 Is Cadence? No
27–33	Au feu d'amour qui ne se peult estaindre	7	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Da Capo Earlier Phrase 1 Repeat, Exact or Varied? Comments Ct and T begin with minims rather than semibreves.
32–41	Au feu d'amour qui ne se peult estaindre	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Da Capo Earlier Phrase 2 Repeat, Exact or Varied? Comments New material mm. 34 -36.
32–42	Au feu d'amour qui ne se peult estaindre	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied?
2–3	Puis que malheur me tient rigueur	1	Details
Analysis ID Analyst 26 Is Cadence? No
4–4	Puis que malheur me tient rigueur	1	Details
Analysis ID Analyst 26 Is Cadence? No
5–6	Puis que malheur me tient rigueur	2	Details
Analysis ID Analyst 26 Is Cadence? No
6–7	Puis que malheur me tient rigueur	2	Details
Analysis ID Analyst 26 Is Cadence? No
8–9	Puis que malheur me tient rigueur	2	Details
Analysis ID Analyst 26 Is Cadence? No
1–4	Puis que malheur me tient rigueur	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
5–9	Puis que malheur me tient rigueur	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
10–14	Puis que malheur me tient rigueur	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
10–12	Puis que malheur me tient rigueur	5	Details
Analysis ID Analyst 26 Is Cadence? No
11–13	Puis que malheur me tient rigueur	5	Details
Analysis ID Analyst 26 Is Cadence? No
12–14	Puis que malheur me tient rigueur	5	Details
Analysis ID Analyst 26 Is Cadence? No
15–15	Puis que malheur me tient rigueur	5	Details
Analysis ID Analyst 26 Is Cadence? No
15–15	Puis que malheur me tient rigueur	6	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
18–19	Puis que malheur me tient rigueur	6	Details
Analysis ID Analyst 26 Is Cadence? No
18–19	Puis que malheur me tient rigueur	6	Details
Analysis ID Analyst 26 Is Cadence? No
20–22	Puis que malheur me tient rigueur	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
21–22	Puis que malheur me tient rigueur	7	Details
Analysis ID Analyst 26 Is Cadence? No
23–23	Puis que malheur me tient rigueur	7	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
24–25	Puis que malheur me tient rigueur	8	Details
Analysis ID Analyst 26 Is Cadence? No
27–28	Puis que malheur me tient rigueur	8	Details
Analysis ID Analyst 26 Is Cadence? No
24–28	Puis que malheur me tient rigueur	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied?
2–2	Dieu doinct le bon jour à m'amye	1	Details
Analysis ID Analyst 26 Is Cadence? No
3–3	Dieu doinct le bon jour à m'amye	1	Details
Analysis ID Analyst 26 Is Cadence? No
2–2	Dieu doinct le bon jour à m'amye	1	Details
Analysis ID Analyst 26 Is Cadence? No
3–4	Dieu doinct le bon jour à m'amye	2	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
4–6	Dieu doinct le bon jour à m'amye	2	Details
Analysis ID Analyst 26 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
4–6	Dieu doinct le bon jour à m'amye	2	Details
Analysis ID Analyst 26 Is Cadence? No
5–5	Dieu doinct le bon jour à m'amye	2	Details
Analysis ID Analyst 26 Is Cadence? No
6–7	Dieu doinct le bon jour à m'amye	2	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
6–6	Dieu doinct le bon jour à m'amye	3	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
6–10	Dieu doinct le bon jour à m'amye	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied? Comments Entry of voices staggered. Minor rhythmic variations.
9–10	Dieu doinct le bon jour à m'amye	4	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
10–11	Dieu doinct le bon jour à m'amye	4	Details
Analysis ID Analyst 26 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
13–13	Dieu doinct le bon jour à m'amye	4	Details
Analysis ID Analyst 26 Is Cadence? No
14–14	Dieu doinct le bon jour à m'amye	4	Details
Analysis ID Analyst 26 Is Cadence? No
14–15	Dieu doinct le bon jour à m'amye	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Tenor Voice Role (@1 or @8) Tenor Voice Role (Below) Tenor Comments Could also be B>T @ 5 above.
17–18	Dieu doinct le bon jour à m'amye	5	Details
Analysis ID Analyst 26 Is Cadence? No
17–18	Dieu doinct le bon jour à m'amye	6	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
19–19	Dieu doinct le bon jour à m'amye	6	Details
Analysis ID Analyst 26 Is Cadence? No
20–21	Dieu doinct le bon jour à m'amye	6	Details
Analysis ID Analyst 26 Is Cadence? No
21–24	Dieu doinct le bon jour à m'amye	7	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 3 Repeat, Exact or Varied? Comments Entry of T staggered. Minor rhythmic variations.
21–24	Dieu doinct le bon jour à m'amye	7	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 7 Repeat, Exact or Varied?
24–31	Dieu doinct le bon jour à m'amye	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 4 Repeat, Exact or Varied? Comments Phrase continues beyond cadence with new material.
30–31	Dieu doinct le bon jour à m'amye	8	Details
Analysis ID Analyst 26 Is Cadence? No
24–33	Dieu doinct le bon jour à m'amye	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied?
1–3	Allons aux champs sur la verdure	1	Details
Analysis ID Analyst 26 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) Bassus Voice Role (Above) Bassus Voice Role (Below) Tenor Other Counterpoint Invertible Counterpoint
3–4	Allons aux champs sur la verdure	1	Details
Analysis ID Analyst 26 Is Cadence? No
4–5	Allons aux champs sur la verdure	1	Details
Analysis ID Analyst 26 Is Cadence? No Comments Ct continues and reiterates cadences in role of cantizans in m. 5.
4–5	Allons aux champs sur la verdure	2	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
4–7	Allons aux champs sur la verdure	2	Details
Analysis ID Analyst 26 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 (@5) Contratenor Voice Role (Above) Superius Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint
11–12	Allons aux champs sur la verdure	2	Details
Analysis ID Analyst 26 Is Cadence? No
1–5	Allons aux champs sur la verdure	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
4–13	Allons aux champs sur la verdure	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Second ending.
13–14	Allons aux champs sur la verdure	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Tenor Voice Role (Comes 1) Bassus Voice Role (Dux 2) Contratenor Voice Role (@1 or @8) Contratenor Voice Role (@5) Bassus Voice Role (Above) Contratenor Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint Comments S anticipates soggetto in m. 13.
15–16	Allons aux champs sur la verdure	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Superius Voice Role (Comes 1) Contratenor Voice Role (@5) Contratenor Voice Role (Below) Contratenor
16–17	Allons aux champs sur la verdure	5	Details
Analysis ID Analyst 26 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
17–17	Allons aux champs sur la verdure	5	Details
Analysis ID Analyst 26 Is Cadence? No
17–18	Allons aux champs sur la verdure	6	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
18–20	Allons aux champs sur la verdure	6	Details
Analysis ID Analyst 26 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
23–23	Allons aux champs sur la verdure	6	Details
Analysis ID Analyst 26 Is Cadence? No
24–26	Allons aux champs sur la verdure	7	Details
Analysis ID Analyst 26 Is Cadence? No
25–26	Allons aux champs sur la verdure	7	Details
Analysis ID Analyst 26 Is Cadence? No Comments Ct continues beyond cadence.
30–33	Allons aux champs sur la verdure	7	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 7 Repeat, Exact or Varied? Comments Ct bears phrase 8 text.
26–27	Allons aux champs sur la verdure	8	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
26–30	Allons aux champs sur la verdure	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Repeats only mm. 4 - 8 of phrase 2.
32–37	Allons aux champs sur la verdure	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied? Comments Final ending.
2–3	Ce friant oeil qui toujours estincelle	1	Details
Analysis ID Analyst 26 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
3–4	Ce friant oeil qui toujours estincelle	1	Details
Analysis ID Analyst 26 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
4–4	Ce friant oeil qui toujours estincelle	1	Details
Analysis ID Analyst 26 Is Cadence? No
5–6	Ce friant oeil qui toujours estincelle	1	Details
Analysis ID Analyst 26 Is Cadence? No
8–9	Ce friant oeil qui toujours estincelle	2	Details
Analysis ID Analyst 26 Is Cadence? No
10–11	Ce friant oeil qui toujours estincelle	2	Details
Analysis ID Analyst 26 Is Cadence? No
1–6	Ce friant oeil qui toujours estincelle	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
6–12	Ce friant oeil qui toujours estincelle	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Second ending.
13–15	Ce friant oeil qui toujours estincelle	5	Details
Analysis ID Analyst 26 Is Cadence? No
15–16	Ce friant oeil qui toujours estincelle	5	Details
Analysis ID Analyst 26 Is Cadence? No
13–14	Ce friant oeil qui toujours estincelle	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
16–17	Ce friant oeil qui toujours estincelle	5	Details
Analysis ID Analyst 26 Is Cadence? No Comments Ct and Bassus move to D.
16–17	Ce friant oeil qui toujours estincelle	6	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
19–21	Ce friant oeil qui toujours estincelle	6	Details
Analysis ID Analyst 26 Is Cadence? No
22–23	Ce friant oeil qui toujours estincelle	6	Details
Analysis ID Analyst 26 Is Cadence? No
22–24	Ce friant oeil qui toujours estincelle	6	Details
Analysis ID Analyst 26 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
25–26	Ce friant oeil qui toujours estincelle	6	Details
Analysis ID Analyst 26 Is Cadence? No Comments Tenor continues beyond cadence.
24–26	Ce friant oeil qui toujours estincelle	7	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
24–28	Ce friant oeil qui toujours estincelle	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Bassus Voice Role (Dux 2) Superius Voice Role (Comes 2) Tenor Voice Role (@1 or @8) Superius Voice Role (@5) Bassus Voice Role (Above) Superius Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint
30–31	Ce friant oeil qui toujours estincelle	7	Details
Analysis ID Analyst 26 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 (@5) Tenor Voice Role (Above) Tenor
32–32	Ce friant oeil qui toujours estincelle	7	Details
Analysis ID Analyst 26 Is Cadence? No
33–34	Ce friant oeil qui toujours estincelle	8	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Stagger
35–38	Ce friant oeil qui toujours estincelle	8	Details
Analysis ID Analyst 26 Is Cadence? No
38–39	Ce friant oeil qui toujours estincelle	8	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
39–42	Ce friant oeil qui toujours estincelle	9	Details
Analysis ID Analyst 26 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
40–41	Ce friant oeil qui toujours estincelle	9	Details
Analysis ID Analyst 26 Is Cadence? No
41–42	Ce friant oeil qui toujours estincelle	9	Details
Analysis ID Analyst 26 Is Cadence? No
43–43	Ce friant oeil qui toujours estincelle	9	Details
Analysis ID Analyst 26 Is Cadence? No Comments Ct and Bassus to F and D.
43–43	Ce friant oeil qui toujours estincelle	10	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
43–44	Ce friant oeil qui toujours estincelle	10	Details
Analysis ID Analyst 26 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 Comments Ct anticipates soggetto in m. 43.
43–44	Ce friant oeil qui toujours estincelle	10	Details
Analysis ID Analyst 26 Is Cadence? No
44–44	Ce friant oeil qui toujours estincelle	10	Details
Analysis ID Analyst 26 Is Cadence? No
45–47	Ce friant oeil qui toujours estincelle	10	Details
Analysis ID Analyst 26 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 Comments Nearly identical to NIM in mm. 43 - 44.
45–46	Ce friant oeil qui toujours estincelle	10	Details
Analysis ID Analyst 26 Is Cadence? No
46–47	Ce friant oeil qui toujours estincelle	10	Details
Analysis ID Analyst 26 Is Cadence? No
48–49	Ce friant oeil qui toujours estincelle	10	Details
Analysis ID Analyst 26 Is Cadence? No
50–51	Ce friant oeil qui toujours estincelle	10	Details
Analysis ID Analyst 26 Is Cadence? No
52–53	Ce friant oeil qui toujours estincelle	10	Details
Analysis ID Analyst 26 Is Cadence? No
53–63	Ce friant oeil qui toujours estincelle	10	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 10 Repeat, Exact or Varied? Comments New material in S and Ct in m. 53.
1–2	Je souffre passion/ D'une amour forte	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
2–3	Je souffre passion/ D'une amour forte	1	Details
Analysis ID Analyst 26 Is Cadence? No
5–5	Je souffre passion/ D'une amour forte	1	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1. Ct 2>3.
38–43	Je souffre passion/ D'une amour forte	1	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Da Capo Earlier Phrase 1 Repeat, Exact or Varied? Comments All voices begin with minim.
5–7	Je souffre passion/ D'une amour forte	2	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
7–8	Je souffre passion/ D'une amour forte	2	Details
Analysis ID Analyst 26 Is Cadence? No
10–11	Je souffre passion/ D'une amour forte	2	Details
Analysis ID Analyst 26 Is Cadence? No
43–49	Je souffre passion/ D'une amour forte	2	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Da Capo Earlier Phrase 2 Repeat, Exact or Varied? Comments Slight rhythmic variation in T as it approaches cadence (m. 47).
1–5	Je souffre passion/ D'une amour forte	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
5–11	Je souffre passion/ D'une amour forte	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
14–14	Je souffre passion/ D'une amour forte	5	Details
Analysis ID Analyst 26 Is Cadence? No
15–16	Je souffre passion/ D'une amour forte	5	Details
Analysis ID Analyst 26 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
16–16	Je souffre passion/ D'une amour forte	5	Details
Analysis ID Analyst 26 Is Cadence? No
16–17	Je souffre passion/ D'une amour forte	6	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
16–17	Je souffre passion/ D'une amour forte	6	Details
Analysis ID Analyst 26 Is Cadence? No
17–18	Je souffre passion/ D'une amour forte	6	Details
Analysis ID Analyst 26 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
19–19	Je souffre passion/ D'une amour forte	6	Details
Analysis ID Analyst 26 Is Cadence? No
21–21	Je souffre passion/ D'une amour forte	6	Details
Analysis ID Analyst 26 Is Cadence? No
22–26	Je souffre passion/ D'une amour forte	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Dance Text Treatment Text Representation Comments Dance rhythm could display effort, or struggle, with love.
22–24	Je souffre passion/ D'une amour forte	7	Details
Analysis ID Analyst 26 Is Cadence? No
25–26	Je souffre passion/ D'une amour forte	7	Details
Analysis ID Analyst 26 Is Cadence? No
27–28	Je souffre passion/ D'une amour forte	8	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
29–30	Je souffre passion/ D'une amour forte	8	Details
Analysis ID Analyst 26 Is Cadence? No
30–31	Je souffre passion/ D'une amour forte	8	Details
Analysis ID Analyst 26 Is Cadence? No Comments Ct 2>3. No 2>1.
33–34	Je souffre passion/ D'une amour forte	9	Details
Analysis ID Analyst 26 Is Cadence? No
33–34	Je souffre passion/ D'une amour forte	9	Details
Analysis ID Analyst 26 Is Cadence? No
34–34	Je souffre passion/ D'une amour forte	10	Details
Analysis ID Analyst 26 Is Cadence? No
36–36	Je souffre passion/ D'une amour forte	10	Details
Analysis ID Analyst 26 Is Cadence? No
37–38	Je souffre passion/ D'une amour forte	10	Details
Analysis ID Analyst 26 Is Cadence? No
38–38	Je souffre passion/ D'une amour forte	10	Details
Analysis ID Analyst 26 Is Cadence? No
1–4	Si pour t'avoir tant loyaument aymée	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Dance
2–3	Si pour t'avoir tant loyaument aymée	1	Details
Analysis ID Analyst 26 Is Cadence? No
3–4	Si pour t'avoir tant loyaument aymée	1	Details
Analysis ID Analyst 26 Is Cadence? No
4–7	Si pour t'avoir tant loyaument aymée	2	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type PEn Tonal 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) Bassus Voice Role (Above) Contratenor Voice Role (Below) Tenor Other Counterpoint Invertible Counterpoint
7–7	Si pour t'avoir tant loyaument aymée	2	Details
Analysis ID Analyst 26 Is Cadence? No
1–4	Si pour t'avoir tant loyaument aymée	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
4–7	Si pour t'avoir tant loyaument aymée	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
8–11	Si pour t'avoir tant loyaument aymée	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Dance
10–11	Si pour t'avoir tant loyaument aymée	5	Details
Analysis ID Analyst 26 Is Cadence? No
12–15	Si pour t'avoir tant loyaument aymée	6	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Dance
12–13	Si pour t'avoir tant loyaument aymée	6	Details
Analysis ID Analyst 26 Is Cadence? No
14–15	Si pour t'avoir tant loyaument aymée	6	Details
Analysis ID Analyst 26 Is Cadence? No
16–19	Si pour t'avoir tant loyaument aymée	7	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 5 Repeat, Exact or Varied?
23–26	Si pour t'avoir tant loyaument aymée	7	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 7 Repeat, Exact or Varied?
19–20	Si pour t'avoir tant loyaument aymée	8	Details
Analysis ID Analyst 26 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 Other Counterpoint Stretto Fuga
21–22	Si pour t'avoir tant loyaument aymée	8	Details
Analysis ID Analyst 26 Is Cadence? No
21–22	Si pour t'avoir tant loyaument aymée	8	Details
Analysis ID Analyst 26 Is Cadence? No
26–29	Si pour t'avoir tant loyaument aymée	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied?
1–2	Qui souhaittez d'avoir tout le plaisir	1	Details
Analysis ID Analyst 26 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
3–3	Qui souhaittez d'avoir tout le plaisir	1	Details
Analysis ID Analyst 26 Is Cadence? No
4–4	Qui souhaittez d'avoir tout le plaisir	1	Details
Analysis ID Analyst 26 Is Cadence? No
4–5	Qui souhaittez d'avoir tout le plaisir	1	Details
Analysis ID Analyst 26 Is Cadence? No
5–6	Qui souhaittez d'avoir tout le plaisir	1	Details
Analysis ID Analyst 26 Is Cadence? No
6–7	Qui souhaittez d'avoir tout le plaisir	2	Details
Analysis ID Analyst 26 Is Cadence? No
9–10	Qui souhaittez d'avoir tout le plaisir	2	Details
Analysis ID Analyst 26 Is Cadence? No Comments Ct continues into m. 11 with anticipation of phrase 3 soggetto.
11–11	Qui souhaittez d'avoir tout le plaisir	3	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
11–16	Qui souhaittez d'avoir tout le plaisir	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied? Comments Ct enters one minim later than in phrase 1.
16–20	Qui souhaittez d'avoir tout le plaisir	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
20–22	Qui souhaittez d'avoir tout le plaisir	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR
21–23	Qui souhaittez d'avoir tout le plaisir	5	Details
Analysis ID Analyst 26 Is Cadence? No
23–23	Qui souhaittez d'avoir tout le plaisir	5	Details
Analysis ID Analyst 26 Is Cadence? No
28–29	Qui souhaittez d'avoir tout le plaisir	6	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Superius Voice Role (Comes 1) Bassus Voice Role (@4) Bassus Voice Role (Below) Bassus
27–28	Qui souhaittez d'avoir tout le plaisir	6	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
29–29	Qui souhaittez d'avoir tout le plaisir	7	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
29–30	Qui souhaittez d'avoir tout le plaisir	7	Details
Analysis ID Analyst 26 Is Cadence? No
31–32	Qui souhaittez d'avoir tout le plaisir	7	Details
Analysis ID Analyst 26 Is Cadence? No
33–33	Qui souhaittez d'avoir tout le plaisir	7	Details
Analysis ID Analyst 26 Is Cadence? No
33–34	Qui souhaittez d'avoir tout le plaisir	7	Details
Analysis ID Analyst 26 Is Cadence? No
34–34	Qui souhaittez d'avoir tout le plaisir	8	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
39–40	Qui souhaittez d'avoir tout le plaisir	8	Details
Analysis ID Analyst 26 Is Cadence? No
43–44	Qui souhaittez d'avoir tout le plaisir	8	Details
Analysis ID Analyst 26 Is Cadence? No
34–46	Qui souhaittez d'avoir tout le plaisir	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied?
1–4	Qu'est-il besoing cercher toutes les nuictz	1	Details
Analysis ID Analyst 26 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
5–7	Qu'est-il besoing cercher toutes les nuictz	1	Details
Analysis ID Analyst 26 Is Cadence? No
7–7	Qu'est-il besoing cercher toutes les nuictz	1	Details
Analysis ID Analyst 26 Is Cadence? No
8–9	Qu'est-il besoing cercher toutes les nuictz	1	Details
Analysis ID Analyst 26 Is Cadence? No
7–9	Qu'est-il besoing cercher toutes les nuictz	2	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
9–10	Qu'est-il besoing cercher toutes les nuictz	2	Details
Analysis ID Analyst 26 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
9–12	Qu'est-il besoing cercher toutes les nuictz	2	Details
Analysis ID Analyst 26 Is Cadence? No
13–14	Qu'est-il besoing cercher toutes les nuictz	2	Details
Analysis ID Analyst 26 Is Cadence? No
1–9	Qu'est-il besoing cercher toutes les nuictz	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
7–15	Qu'est-il besoing cercher toutes les nuictz	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
15–19	Qu'est-il besoing cercher toutes les nuictz	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR
19–20	Qu'est-il besoing cercher toutes les nuictz	5	Details
Analysis ID Analyst 26 Is Cadence? No Comments T & B > 3. No 2>1.
19–21	Qu'est-il besoing cercher toutes les nuictz	6	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
22–24	Qu'est-il besoing cercher toutes les nuictz	6	Details
Analysis ID Analyst 26 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
24–26	Qu'est-il besoing cercher toutes les nuictz	6	Details
Analysis ID Analyst 26 Is Cadence? No
25–26	Qu'est-il besoing cercher toutes les nuictz	6	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
26–27	Qu'est-il besoing cercher toutes les nuictz	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Stagger
30–30	Qu'est-il besoing cercher toutes les nuictz	7	Details
Analysis ID Analyst 26 Is Cadence? No
31–32	Qu'est-il besoing cercher toutes les nuictz	8	Details
Analysis ID Analyst 26 Is Cadence? No
31–34	Qu'est-il besoing cercher toutes les nuictz	8	Details
Analysis ID Analyst 26 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
35–35	Qu'est-il besoing cercher toutes les nuictz	8	Details
Analysis ID Analyst 26 Is Cadence? No Comments Ct 2>3. No 2>1.
30–36	Qu'est-il besoing cercher toutes les nuictz	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied?
1–3	Margot s'endormit sur un lict	1	Details
Analysis ID Analyst 26 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 (@5) Bassus Voice Role (@4) Contratenor Voice Role (Below) Contratenor
4–5	Margot s'endormit sur un lict	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Tenor Voice Role (Comes 1) Bassus Voice Role (@4) Bassus Voice Role (Below) Bassus
5–5	Margot s'endormit sur un lict	1	Details
Analysis ID Analyst 26 Is Cadence? No
2–5	Margot s'endormit sur un lict	1	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
2–3	Margot s'endormit sur un lict	2	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Superius Voice Role (Comes 1) Contratenor Voice Role (@5) Contratenor Voice Role (Below) Contratenor Other Counterpoint Stretto Fuga
5–6	Margot s'endormit sur un lict	2	Details
Analysis ID Analyst 26 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 Other Counterpoint Stretto Fuga Comments Identical to FI in mm. 2-3.
7–8	Margot s'endormit sur un lict	2	Details
Analysis ID Analyst 26 Is Cadence? No
5–8	Margot s'endormit sur un lict	3	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
5–13	Margot s'endormit sur un lict	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
9–16	Margot s'endormit sur un lict	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments New material mm. 14-16.
14–15	Margot s'endormit sur un lict	4	Details
Analysis ID Analyst 26 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
15–15	Margot s'endormit sur un lict	4	Details
Analysis ID Analyst 26 Is Cadence? No
16–16	Margot s'endormit sur un lict	4	Details
Analysis ID Analyst 26 Is Cadence? No
16–16	Margot s'endormit sur un lict	4	Details
Analysis ID Analyst 26 Is Cadence? No
17–19	Margot s'endormit sur un lict	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
19–19	Margot s'endormit sur un lict	5	Details
Analysis ID Analyst 26 Is Cadence? No
19–21	Margot s'endormit sur un lict	6	Details
Analysis ID Analyst 26 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 Comments Bassus approximates soggetto (mm. 20-21).
22–22	Margot s'endormit sur un lict	6	Details
Analysis ID Analyst 26 Is Cadence? No
22–26	Margot s'endormit sur un lict	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Stagger
24–26	Margot s'endormit sur un lict	7	Details
Analysis ID Analyst 26 Is Cadence? No
22–23	Margot s'endormit sur un lict	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Superius Voice Role (Comes 1) Bassus Voice Role (@1 or @8) Bassus Voice Role (Below) Bassus Text Treatment Text Representation Comments Short imitative exchange between S and B emphasizes exclamation, as well as sexual double entendre.
23–24	Margot s'endormit sur un lict	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Superius Voice Role (Comes 1) Bassus Voice Role (@4) Bassus Voice Role (Below) Bassus Text Treatment Text Representation Comments Short imitative exchange between S and B emphasizes exclamation, as well as sexual double entendre.
25–26	Margot s'endormit sur un lict	7	Details
Analysis ID Analyst 26 Is Cadence? No
27–29	Margot s'endormit sur un lict	8	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type PEn Tonal 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
30–31	Margot s'endormit sur un lict	8	Details
Analysis ID Analyst 26 Is Cadence? No
32–34	Margot s'endormit sur un lict	9	Details
Analysis ID Analyst 26 Is Cadence? No
34–35	Margot s'endormit sur un lict	9	Details
Analysis ID Analyst 26 Is Cadence? No
35–35	Margot s'endormit sur un lict	10	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
35–37	Margot s'endormit sur un lict	10	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Stagger
35–36	Margot s'endormit sur un lict	10	Details
Analysis ID Analyst 26 Is Cadence? No
37–37	Margot s'endormit sur un lict	10	Details
Analysis ID Analyst 26 Is Cadence? No
38–40	Margot s'endormit sur un lict	11	Details
Analysis ID Analyst 26 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) Contratenor Voice Role (@4) Tenor Voice Role (Below) Contratenor Other Counterpoint Stretto Fuga
40–40	Margot s'endormit sur un lict	11	Details
Analysis ID Analyst 26 Is Cadence? No
40–40	Margot s'endormit sur un lict	12	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
41–42	Margot s'endormit sur un lict	12	Details
Analysis ID Analyst 26 Is Cadence? No
42–43	Margot s'endormit sur un lict	12	Details
Analysis ID Analyst 26 Is Cadence? No
37–45	Margot s'endormit sur un lict	12	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 12 Repeat, Exact or Varied?
1–2	La terre, l'eau, l'air, le feu et les cieulx	1	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Declamation
4–6	La terre, l'eau, l'air, le feu et les cieulx	1	Details
Analysis ID Analyst 26 Is Cadence? No
9–10	La terre, l'eau, l'air, le feu et les cieulx	1	Details
Analysis ID Analyst 26 Is Cadence? No
8–10	La terre, l'eau, l'air, le feu et les cieulx	2	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
14–15	La terre, l'eau, l'air, le feu et les cieulx	2	Details
Analysis ID Analyst 26 Is Cadence? No
14–15	La terre, l'eau, l'air, le feu et les cieulx	2	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Bassus Voice Role (Comes 1) Superius Voice Role (@4) Superius Voice Role (Above) Superius Other Counterpoint Stretto Fuga
17–18	La terre, l'eau, l'air, le feu et les cieulx	2	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
16–18	La terre, l'eau, l'air, le feu et les cieulx	3	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
19–19	La terre, l'eau, l'air, le feu et les cieulx	3	Details
Analysis ID Analyst 26 Is Cadence? No
24–25	La terre, l'eau, l'air, le feu et les cieulx	3	Details
Analysis ID Analyst 26 Is Cadence? No
22–25	La terre, l'eau, l'air, le feu et les cieulx	4	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
25–26	La terre, l'eau, l'air, le feu et les cieulx	4	Details
Analysis ID Analyst 26 Is Cadence? No
26–26	La terre, l'eau, l'air, le feu et les cieulx	4	Details
Analysis ID Analyst 26 Is Cadence? No
27–28	La terre, l'eau, l'air, le feu et les cieulx	4	Details
Analysis ID Analyst 26 Is Cadence? No
30–31	La terre, l'eau, l'air, le feu et les cieulx	4	Details
Analysis ID Analyst 26 Is Cadence? No
29–32	La terre, l'eau, l'air, le feu et les cieulx	5	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
33–33	La terre, l'eau, l'air, le feu et les cieulx	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Superius Voice Role (Comes 1) Contratenor Voice Role (@1 or @8) Contratenor
35–36	La terre, l'eau, l'air, le feu et les cieulx	5	Details
Analysis ID Analyst 26 Is Cadence? No
33–36	La terre, l'eau, l'air, le feu et les cieulx	6	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
37–38	La terre, l'eau, l'air, le feu et les cieulx	6	Details
Analysis ID Analyst 26 Is Cadence? No
37–41	La terre, l'eau, l'air, le feu et les cieulx	7	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
38–39	La terre, l'eau, l'air, le feu et les cieulx	7	Details
Analysis ID Analyst 26 Is Cadence? No
39–40	La terre, l'eau, l'air, le feu et les cieulx	7	Details
Analysis ID Analyst 26 Is Cadence? No
40–41	La terre, l'eau, l'air, le feu et les cieulx	7	Details
Analysis ID Analyst 26 Is Cadence? No
41–43	La terre, l'eau, l'air, le feu et les cieulx	8	Details
Analysis ID Analyst 26 Is Cadence? No
45–45	La terre, l'eau, l'air, le feu et les cieulx	8	Details
Analysis ID Analyst 26 Is Cadence? No
45–45	La terre, l'eau, l'air, le feu et les cieulx	9	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
46–48	La terre, l'eau, l'air, le feu et les cieulx	9	Details
Analysis ID Analyst 26 Is Cadence? No
49–50	La terre, l'eau, l'air, le feu et les cieulx	9	Details
Analysis ID Analyst 26 Is Cadence? No
49–53	La terre, l'eau, l'air, le feu et les cieulx	10	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
58–59	La terre, l'eau, l'air, le feu et les cieulx	10	Details
Analysis ID Analyst 26 Is Cadence? No
1–2	Sur la verdure du pré florissant, m'amye ouy	1	Details
Analysis ID Analyst 26 Is Cadence? No
5–5	Sur la verdure du pré florissant, m'amye ouy	1	Details
Analysis ID Analyst 26 Is Cadence? No
3–4	Sur la verdure du pré florissant, m'amye ouy	1	Details
Analysis ID Analyst 26 Is Cadence? No
3–6	Sur la verdure du pré florissant, m'amye ouy	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
5–6	Sur la verdure du pré florissant, m'amye ouy	1	Details
Analysis ID Analyst 26 Is Cadence? No
6–9	Sur la verdure du pré florissant, m'amye ouy	2	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Tenor Voice Role (Comes 1) Bassus Voice Role (@4) Bassus Voice Role (Below) Bassus
10–12	Sur la verdure du pré florissant, m'amye ouy	2	Details
Analysis ID Analyst 26 Is Cadence? No
11–13	Sur la verdure du pré florissant, m'amye ouy	2	Details
Analysis ID Analyst 26 Is Cadence? No
13–14	Sur la verdure du pré florissant, m'amye ouy	2	Details
Analysis ID Analyst 26 Is Cadence? No
14–18	Sur la verdure du pré florissant, m'amye ouy	3	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
14–16	Sur la verdure du pré florissant, m'amye ouy	3	Details
Analysis ID Analyst 26 Is Cadence? No
17–18	Sur la verdure du pré florissant, m'amye ouy	3	Details
Analysis ID Analyst 26 Is Cadence? No
18–19	Sur la verdure du pré florissant, m'amye ouy	4	Details
Analysis ID Analyst 26 Is Cadence? No
19–20	Sur la verdure du pré florissant, m'amye ouy	4	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Bassus Voice Role (Comes 1) Superius Voice Role (@5) Superius Voice Role (Above) Superius
21–21	Sur la verdure du pré florissant, m'amye ouy	4	Details
Analysis ID Analyst 26 Is Cadence? No
23–23	Sur la verdure du pré florissant, m'amye ouy	4	Details
Analysis ID Analyst 26 Is Cadence? No
24–25	Sur la verdure du pré florissant, m'amye ouy	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
24–25	Sur la verdure du pré florissant, m'amye ouy	5	Details
Analysis ID Analyst 26 Is Cadence? No
1–2	Un forgeron aussi vieulx que le temps	1	Details
Analysis ID Analyst 26 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
3–3	Un forgeron aussi vieulx que le temps	1	Details
Analysis ID Analyst 26 Is Cadence? No
4–5	Un forgeron aussi vieulx que le temps	2	Details
Analysis ID Analyst 26 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
5–6	Un forgeron aussi vieulx que le temps	2	Details
Analysis ID Analyst 26 Is Cadence? No
7–8	Un forgeron aussi vieulx que le temps	2	Details
Analysis ID Analyst 26 Is Cadence? No
1–3	Un forgeron aussi vieulx que le temps	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
3–9	Un forgeron aussi vieulx que le temps	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Second ending.
10–12	Un forgeron aussi vieulx que le temps	5	Details
Analysis ID Analyst 26 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
11–12	Un forgeron aussi vieulx que le temps	5	Details
Analysis ID Analyst 26 Is Cadence? No Comments T continues beyond cadence.
12–12	Un forgeron aussi vieulx que le temps	6	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
12–13	Un forgeron aussi vieulx que le temps	6	Details
Analysis ID Analyst 26 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
13–16	Un forgeron aussi vieulx que le temps	6	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Bassus Voice Role (Comes 1) Tenor Voice Role (@1 or @8) Tenor Comments Following tenor statement, bassus repeats soggetto at same time interval at which tenor had just followed first statement of bassus (mm. 15-16).
14–15	Un forgeron aussi vieulx que le temps	6	Details
Analysis ID Analyst 26 Is Cadence? No
17–17	Un forgeron aussi vieulx que le temps	6	Details
Analysis ID Analyst 26 Is Cadence? No
19–20	Un forgeron aussi vieulx que le temps	7	Details
Analysis ID Analyst 26 Is Cadence? No
20–21	Un forgeron aussi vieulx que le temps	7	Details
Analysis ID Analyst 26 Is Cadence? No Comments Tenor moves to E.
21–24	Un forgeron aussi vieulx que le temps	8	Details
Analysis ID Analyst 26 Is Cadence? No
25–26	Un forgeron aussi vieulx que le temps	8	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
28–29	Un forgeron aussi vieulx que le temps	9	Details
Analysis ID Analyst 26 Is Cadence? No
30–31	Un forgeron aussi vieulx que le temps	9	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
27–31	Un forgeron aussi vieulx que le temps	9	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 9 Repeat, Exact or Varied?
30–31	Un forgeron aussi vieulx que le temps	10	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
30–33	Un forgeron aussi vieulx que le temps	10	Details
Analysis ID Analyst 26 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
34–35	Un forgeron aussi vieulx que le temps	10	Details
Analysis ID Analyst 26 Is Cadence? No
30–35	Un forgeron aussi vieulx que le temps	10	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 10 Repeat, Exact or Varied?
1–2	Amour remply de pitié et de zelle	1	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Declamation
1–3	Amour remply de pitié et de zelle	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
5–6	Amour remply de pitié et de zelle	1	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
5–6	Amour remply de pitié et de zelle	2	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
6–8	Amour remply de pitié et de zelle	2	Details
Analysis ID Analyst 26 Is Cadence? No
9–10	Amour remply de pitié et de zelle	2	Details
Analysis ID Analyst 26 Is Cadence? No
9–10	Amour remply de pitié et de zelle	3	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
10–12	Amour remply de pitié et de zelle	3	Details
Analysis ID Analyst 26 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
11–12	Amour remply de pitié et de zelle	3	Details
Analysis ID Analyst 26 Is Cadence? No
16–16	Amour remply de pitié et de zelle	3	Details
Analysis ID Analyst 26 Is Cadence? No
1–6	Amour remply de pitié et de zelle	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
5–10	Amour remply de pitié et de zelle	5	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
9–17	Amour remply de pitié et de zelle	6	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 3 Repeat, Exact or Varied? Comments Second ending with evaded and incomplete cadence.
17–17	Amour remply de pitié et de zelle	6	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1. Bassus moves to C.
17–17	Amour remply de pitié et de zelle	7	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
17–19	Amour remply de pitié et de zelle	7	Details
Analysis ID Analyst 26 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
20–21	Amour remply de pitié et de zelle	7	Details
Analysis ID Analyst 26 Is Cadence? No
20–21	Amour remply de pitié et de zelle	8	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
24–26	Amour remply de pitié et de zelle	8	Details
Analysis ID Analyst 26 Is Cadence? No
23–26	Amour remply de pitié et de zelle	9	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
23–25	Amour remply de pitié et de zelle	9	Details
Analysis ID Analyst 26 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
26–26	Amour remply de pitié et de zelle	9	Details
Analysis ID Analyst 26 Is Cadence? No
27–28	Amour remply de pitié et de zelle	9	Details
Analysis ID Analyst 26 Is Cadence? No
30–31	Amour remply de pitié et de zelle	9	Details
Analysis ID Analyst 26 Is Cadence? No
23–31	Amour remply de pitié et de zelle	9	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 9 Repeat, Exact or Varied?
36–37	Amour remply de pitié et de zelle	10	Details
Analysis ID Analyst 26 Is Cadence? No
29–39	Amour remply de pitié et de zelle	10	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 10 Repeat, Exact or Varied?
11–18	Je ne cognois femme en ceste contrée	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied? Comments CT, T, and B have new material in mm. 11-13, which creates a tonal PEn/stretto fuga with S (tagged separately). Repeat exact from m. 14.
11–13	Je ne cognois femme en ceste contrée	3	Details
Analysis ID Analyst 26 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 (@1 or @8) Bassus Voice Role (@4) Superius Voice Role (Above) Superius Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint, Stretto Fuga Comments This PEn is a variation in phrase 3's otherwise direction repeat of phrase 1.
15–21	Je ne cognois femme en ceste contrée	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Text overlap in phrase 5 changes CT's role in cadence (m. 21)
21–21	Je ne cognois femme en ceste contrée	5	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
21–24	Je ne cognois femme en ceste contrée	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Tenor Voice Role (Dux 2) Superius Voice Role (@1 or @8) Tenor Voice Role (Above) Superius Other Counterpoint Invertible Counterpoint
25–25	Je ne cognois femme en ceste contrée	5	Details
Analysis ID Analyst 26 Is Cadence? No
25–25	Je ne cognois femme en ceste contrée	6	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
29–30	Je ne cognois femme en ceste contrée	6	Details
Analysis ID Analyst 26 Is Cadence? No Comments Application of ficta to Bassus yields phrygian.
26–29	Je ne cognois femme en ceste contrée	6	Details
Analysis ID Analyst 26 Is Cadence? No
34–34	Je ne cognois femme en ceste contrée	7	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 7>8 or 2>1. Only B sounds final.
31–33	Je ne cognois femme en ceste contrée	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Tenor Voice Role (@1 or @8) Tenor Voice Role (Below) Tenor
34–34	Je ne cognois femme en ceste contrée	8	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
34–37	Je ne cognois femme en ceste contrée	8	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Stagger Comments Some inconsistent parallel 3rds between S/B.
38–39	Je ne cognois femme en ceste contrée	8	Details
Analysis ID Analyst 26 Is Cadence? No
39–46	Je ne cognois femme en ceste contrée	9	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 3 Repeat, Exact or Varied?
43–49	Je ne cognois femme en ceste contrée	10	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 4 Repeat, Exact or Varied?
4–4	Faisons le dire mensonger	1	Details
Analysis ID Analyst 26 Is Cadence? No
5–5	Faisons le dire mensonger	1	Details
Analysis ID Analyst 26 Is Cadence? No Comments Ficta in superius creates problem (augmented octave) with tenor.
9–10	Faisons le dire mensonger	1	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Representation Comments The pile-up of alterations to this cadence related to "mensonger." Could be CadInCad, though only coincides with end of superius line (not bassus).
23–24	Je ne suis pas si sot berger	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
10–16	Faisons le dire mensonger	2	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
10–11	Faisons le dire mensonger	2	Details
Analysis ID Analyst 26 Is Cadence? No
15–16	Faisons le dire mensonger	2	Details
Analysis ID Analyst 26 Is Cadence? No
16–18	Faisons le dire mensonger	3	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
16–20	Faisons le dire mensonger	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 3 Repeat, Exact or Varied?
19–20	Faisons le dire mensonger	3	Details
Analysis ID Analyst 26 Is Cadence? No Comments 2>3 in tenor, no 2>1.
24–25	Faisons le dire mensonger	4	Details
Analysis ID Analyst 26 Is Cadence? No
26–26	Faisons le dire mensonger	4	Details
Analysis ID Analyst 26 Is Cadence? No
20–26	Faisons le dire mensonger	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 4 Repeat, Exact or Varied? Comments With "open" and "closed" endings.
1–3	Si l'amyitié n'est que conjonction	1	Details
Analysis ID Analyst 26 Is Cadence? No
4–4	Si l'amyitié n'est que conjonction	1	Details
Analysis ID Analyst 26 Is Cadence? No
4–6	Si l'amyitié n'est que conjonction	2	Details
Analysis ID Analyst 26 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
6–7	Si l'amyitié n'est que conjonction	2	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
8–9	Si l'amyitié n'est que conjonction	2	Details
Analysis ID Analyst 26 Is Cadence? No
10–10	Si l'amyitié n'est que conjonction	2	Details
Analysis ID Analyst 26 Is Cadence? No
1–4	Si l'amyitié n'est que conjonction	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
4–10	Si l'amyitié n'est que conjonction	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
11–12	Si l'amyitié n'est que conjonction	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
12–13	Si l'amyitié n'est que conjonction	5	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Representation Comments Octave leaps down in CT create voice crossings with T in a passage that sets "qui plus estrange semble."
13–14	Si l'amyitié n'est que conjonction	5	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Representation Comments Voice crossing between S and CT creates momentary uncanny effect for "estrange semble."
15–16	Si l'amyitié n'est que conjonction	5	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Representation Comments No 2>1. Pile-up of modifiers to this cadence setting "qui plus estrange semble." Even the first cadence of the CadInCad is evaded and incomplete.
19–19	Si l'amyitié n'est que conjonction	6	Details
Analysis ID Analyst 26 Is Cadence? No
20–21	Si l'amyitié n'est que conjonction	6	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
21–21	Si l'amyitié n'est que conjonction	6	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Representation Comments "fascheux adieu?"
21–25	Si l'amyitié n'est que conjonction	7	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied? Comments Slightly different entry of voices in mm. 21-22 and slightly different rhythms for cadence in m. 25.
25–31	Si l'amyitié n'est que conjonction	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
25–31	Si l'amyitié n'est que conjonction	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied? Comments Slightly different beginning in tenor due to first ending (m. 32).
1–3	Si je cuidois (pour gemir et complaindre)	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Stagger
2–3	Si je cuidois (pour gemir et complaindre)	1	Details
Analysis ID Analyst 26 Is Cadence? No
4–6	Si je cuidois (pour gemir et complaindre)	1	Details
Analysis ID Analyst 26 Is Cadence? No Comments 2>3 in tenorizans, no 2>1.
4–4	Si je cuidois (pour gemir et complaindre)	1	Details
Analysis ID Analyst 26 Is Cadence? No Comments Tenorizans 2>3, no 2>1.
5–7	Si je cuidois (pour gemir et complaindre)	2	Details
Analysis ID Analyst 26 Is Cadence? No
8–9	Si je cuidois (pour gemir et complaindre)	2	Details
Analysis ID Analyst 26 Is Cadence? No
1–4	Si je cuidois (pour gemir et complaindre)	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
4–10	Si je cuidois (pour gemir et complaindre)	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Second ending.
10–11	Si je cuidois (pour gemir et complaindre)	5	Details
Analysis ID Analyst 26 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
10–11	Si je cuidois (pour gemir et complaindre)	5	Details
Analysis ID Analyst 26 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
13–13	Si je cuidois (pour gemir et complaindre)	5	Details
Analysis ID Analyst 26 Is Cadence? No Comments B up 2.
13–15	Si je cuidois (pour gemir et complaindre)	6	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Stagger
13–15	Si je cuidois (pour gemir et complaindre)	6	Details
Analysis ID Analyst 26 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
15–16	Si je cuidois (pour gemir et complaindre)	6	Details
Analysis ID Analyst 26 Is Cadence? No
18–20	Si je cuidois (pour gemir et complaindre)	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Stagger
18–19	Si je cuidois (pour gemir et complaindre)	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Formulas Romanesca
21–22	Si je cuidois (pour gemir et complaindre)	7	Details
Analysis ID Analyst 26 Is Cadence? No
17–22	Si je cuidois (pour gemir et complaindre)	7	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 7 Repeat, Exact or Varied? Comments Entries of voices different in first ending (mm. 29-30).
29–30	Si je cuidois (pour gemir et complaindre)	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Tenor Voice Role (Comes 1) Bassus Voice Role (@1 or @8) Bassus Voice Role (Below) Bassus
24–24	Je ne suis pas si sot berger	5	Details
Analysis ID Analyst 26 Is Cadence? No
22–24	Si je cuidois (pour gemir et complaindre)	8	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Representation Comments Change into cut circle for "que tant plus froide elle est." Mensuration change distances the woman from the lover?
25–27	Si je cuidois (pour gemir et complaindre)	8	Details
Analysis ID Analyst 26 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
28–29	Si je cuidois (pour gemir et complaindre)	8	Details
Analysis ID Analyst 26 Is Cadence? No
22–29	Si je cuidois (pour gemir et complaindre)	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied?
1–4	Je ne suis pas si sot berger	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type ID Voice Role (Dux 1) Bassus Voice Role (Comes 1) Tenor Voice Role (Dux 2) Contratenor Voice Role (Comes 2) Superius Voice Role (@5) Tenor Voice Role (@4) Contratenor Voice Role (Above) Tenor Other Counterpoint Stretto Fuga
4–5	Je ne suis pas si sot berger	1	Details
Analysis ID Analyst 26 Is Cadence? No
5–5	Je ne suis pas si sot berger	1	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
5–7	Je ne suis pas si sot berger	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Bassus Voice Role (Comes 1) Tenor Voice Role (@5) Tenor Voice Role (Above) Tenor Other Counterpoint Stretto Fuga Comments Repeat of first imitative duo in mm. 1-2.
6–6	Je ne suis pas si sot berger	1	Details
Analysis ID Analyst 26 Is Cadence? No
8–8	Je ne suis pas si sot berger	1	Details
Analysis ID Analyst 26 Is Cadence? No
8–8	Je ne suis pas si sot berger	2	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
8–16	Je ne suis pas si sot berger	2	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied? Comments CT and S present new material in mm. 8-9.
18–20	Je ne suis pas si sot berger	3	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Enjambment Comments Sense of text runs into next phrase.
16–17	Je ne suis pas si sot berger	3	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Stagger
18–18	Je ne suis pas si sot berger	3	Details
Analysis ID Analyst 26 Is Cadence? No Comments text enjamb
19–20	Je ne suis pas si sot berger	4	Details
Analysis ID Analyst 26 Is Cadence? No
23–24	Je ne suis pas si sot berger	4	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
20–20	Je ne suis pas si sot berger	4	Details
Analysis ID Analyst 26 Is Cadence? No
24–26	Je ne suis pas si sot berger	5	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Enjambment Comments Sense of text runs across phrase.
24–24	Je ne suis pas si sot berger	5	Details
Analysis ID Analyst 26 Is Cadence? No
23–24	Je ne suis pas si sot berger	5	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 5 Comments Only half of phrase repeated.
21–22	Je ne suis pas si sot berger	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Fauxbourdon Comments Musical joke on word "flute" which here has sexual connotations.
24–25	Je ne suis pas si sot berger	6	Details
Analysis ID Analyst 26 Is Cadence? No
26–26	Je ne suis pas si sot berger	6	Details
Analysis ID Analyst 26 Is Cadence? No
23–27	Je ne suis pas si sot berger	6	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 6 Repeat, Exact or Varied? Comments Repeat includes second half of phrase 5.
3–3	A ce matin d'un beau bouquet de rose	1	Details
Analysis ID Analyst 26 Is Cadence? No
1–3	A ce matin d'un beau bouquet de rose	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Superius Voice Role (Comes 1) Tenor Voice Role (@4) Tenor Voice Role (Below) Tenor Other Counterpoint Stretto Fuga
6–6	A ce matin d'un beau bouquet de rose	1	Details
Analysis ID Analyst 26 Is Cadence? No
5–6	A ce matin d'un beau bouquet de rose	2	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
6–9	A ce matin d'un beau bouquet de rose	2	Details
Analysis ID Analyst 26 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 Comments Soggetto anticipated by CT mm. 5-6.
9–10	A ce matin d'un beau bouquet de rose	2	Details
Analysis ID Analyst 26 Is Cadence? No
10–11	A ce matin d'un beau bouquet de rose	2	Details
Analysis ID Analyst 26 Is Cadence? No Comments Ficta implied for leading tone.
1–6	A ce matin d'un beau bouquet de rose	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
5–12	A ce matin d'un beau bouquet de rose	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2
13–17	A ce matin d'un beau bouquet de rose	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple Comments Meter change to cut circle: quicker tempo representing departure following kiss.
15–17	A ce matin d'un beau bouquet de rose	5	Details
Analysis ID Analyst 26 Is Cadence? No
16–17	A ce matin d'un beau bouquet de rose	5	Details
Analysis ID Analyst 26 Is Cadence? No Comments Since sense of text runs across two phrases, plagal cadence musically elides two phrases.
17–21	A ce matin d'un beau bouquet de rose	6	Details
Analysis ID Analyst 26 Is Cadence? No Comments Meter returns to cut C.
19–20	A ce matin d'un beau bouquet de rose	6	Details
Analysis ID Analyst 26 Is Cadence? No
21–21	A ce matin d'un beau bouquet de rose	7	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
21–24	A ce matin d'un beau bouquet de rose	7	Details
Analysis ID Analyst 26 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) Superius Voice Role (Above) Superius Voice Role (Below) Tenor Other Counterpoint Invertible Counterpoint
23–24	A ce matin d'un beau bouquet de rose	7	Details
Analysis ID Analyst 26 Is Cadence? No Comments B up 2
25–26	A ce matin d'un beau bouquet de rose	8	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
25–29	A ce matin d'un beau bouquet de rose	8	Details
Analysis ID Analyst 26 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 Comments Bassus anticipates soggetto mm. 25-6.
27–28	A ce matin d'un beau bouquet de rose	8	Details
Analysis ID Analyst 26 Is Cadence? No Other Formulas Romanesca
30–31	A ce matin d'un beau bouquet de rose	8	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
31–36	A ce matin d'un beau bouquet de rose	9	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied? Comments Bassus moves in parallel third minims with superius.
33–33	A ce matin d'un beau bouquet de rose	9	Details
Analysis ID Analyst 26 Is Cadence? No
31–36	A ce matin d'un beau bouquet de rose	9	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 9 Repeat, Exact or Varied?
35–41	A ce matin d'un beau bouquet de rose	10	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
35–43	A ce matin d'un beau bouquet de rose	10	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 10 Repeat, Exact or Varied?
1–3	Je suis honteux et n'ose descouvrir	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
3–5	Je suis honteux et n'ose descouvrir	1	Details
Analysis ID Analyst 26 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
2–3	Je suis honteux et n'ose descouvrir	1	Details
Analysis ID Analyst 26 Is Cadence? No
5–5	Je suis honteux et n'ose descouvrir	1	Details
Analysis ID Analyst 26 Is Cadence? No
5–5	Je suis honteux et n'ose descouvrir	2	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
5–7	Je suis honteux et n'ose descouvrir	2	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Bassus Voice Role (Dux 2) Superius Voice Role (Comes 2) Tenor Voice Role (@1 or @8) Bassus Voice Role (@5) Superius Voice Role (Above) Superius Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint
8–9	Je suis honteux et n'ose descouvrir	2	Details
Analysis ID Analyst 26 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
10–10	Je suis honteux et n'ose descouvrir	2	Details
Analysis ID Analyst 26 Is Cadence? No
1–5	Je suis honteux et n'ose descouvrir	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
5–11	Je suis honteux et n'ose descouvrir	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
11–13	Je suis honteux et n'ose descouvrir	5	Details
Analysis ID Analyst 26 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
12–15	Je suis honteux et n'ose descouvrir	5	Details
Analysis ID Analyst 26 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) Tenor Voice Role (@5) Bassus Voice Role (Above) Tenor Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint
16–16	Je suis honteux et n'ose descouvrir	5	Details
Analysis ID Analyst 26 Is Cadence? No
17–20	Je suis honteux et n'ose descouvrir	6	Details
Analysis ID Analyst 26 Is Cadence? No Comments 3/8 in S and B.
20–21	Je suis honteux et n'ose descouvrir	6	Details
Analysis ID Analyst 26 Is Cadence? No
22–27	Je suis honteux et n'ose descouvrir	7	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Da Capo Earlier Phrase 1 Repeat, Exact or Varied? Comments First long of tenor is B-flat rather than G.
32–36	Je suis honteux et n'ose descouvrir	7	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 7 Repeat, Exact or Varied? Comments Diminution of first two pitches.
26–32	Je suis honteux et n'ose descouvrir	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Da Capo Earlier Phrase 2 Repeat, Exact or Varied?
35–41	Je suis honteux et n'ose descouvrir	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied?
1–4	Las, si amour nouveau conseil n'apporte	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
2–3	Las, si amour nouveau conseil n'apporte	1	Details
Analysis ID Analyst 26 Is Cadence? No
7–8	Las, si amour nouveau conseil n'apporte	1	Details
Analysis ID Analyst 26 Is Cadence? No
8–9	Las, si amour nouveau conseil n'apporte	1	Details
Analysis ID Analyst 26 Is Cadence? No
9–10	Las, si amour nouveau conseil n'apporte	2	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type NIM Voice Role (Upper Voice 1 NIM) Contratenor Voice Role (Lower Voice 1 NIM) Tenor Voice Role (Upper Voice 2 NIM) Superius Voice Role (Lower Voice 2 NIM) Bassus
11–12	Las, si amour nouveau conseil n'apporte	2	Details
Analysis ID Analyst 26 Is Cadence? No
16–17	Las, si amour nouveau conseil n'apporte	2	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Tenor Voice Role (Comes 1) Superius Voice Role (@4) Superius Voice Role (Above) Superius
17–18	Las, si amour nouveau conseil n'apporte	2	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
18–22	Las, si amour nouveau conseil n'apporte	3	Details
Analysis ID Analyst 26 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 (@5) Bassus Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint
19–21	Las, si amour nouveau conseil n'apporte	3	Details
Analysis ID Analyst 26 Is Cadence? No
22–24	Las, si amour nouveau conseil n'apporte	3	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
27–28	Las, si amour nouveau conseil n'apporte	3	Details
Analysis ID Analyst 26 Is Cadence? No
29–37	Las, si amour nouveau conseil n'apporte	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Da Capo Earlier Phrase 1 Repeat, Exact or Varied?
1–2	Si Salamandre en flamme vit c'est peu	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
3–5	Si Salamandre en flamme vit c'est peu	1	Details
Analysis ID Analyst 26 Is Cadence? No
4–6	Si Salamandre en flamme vit c'est peu	1	Details
Analysis ID Analyst 26 Is Cadence? No
6–8	Si Salamandre en flamme vit c'est peu	2	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Tenor Voice Role (Comes 1) Superius Voice Role (Dux 2) Bassus Voice Role (Comes 2) Contratenor Voice Role (@1 or @8) Superius Voice Role (@5) Bassus Voice Role (Above) Superius Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint, Stretto Fuga
8–10	Si Salamandre en flamme vit c'est peu	2	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Bassus Voice Role (@5) Bassus Voice Role (Below) Bassus
10–11	Si Salamandre en flamme vit c'est peu	2	Details
Analysis ID Analyst 26 Is Cadence? No
11–12	Si Salamandre en flamme vit c'est peu	2	Details
Analysis ID Analyst 26 Is Cadence? No
12–12	Si Salamandre en flamme vit c'est peu	3	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
12–18	Si Salamandre en flamme vit c'est peu	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied? Comments Note values occasionally adjusted to accommodate text.
4–8	Mais dont vient que vous, damoyselles	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
17–24	Si Salamandre en flamme vit c'est peu	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Cadential flourish in bass mm. 23-24.
23–24	Si Salamandre en flamme vit c'est peu	5	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
24–25	Si Salamandre en flamme vit c'est peu	5	Details
Analysis ID Analyst 26 Is Cadence? No
26–27	Si Salamandre en flamme vit c'est peu	5	Details
Analysis ID Analyst 26 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
27–27	Si Salamandre en flamme vit c'est peu	5	Details
Analysis ID Analyst 26 Is Cadence? No
27–30	Si Salamandre en flamme vit c'est peu	6	Details
Analysis ID Analyst 26 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
31–32	Si Salamandre en flamme vit c'est peu	6	Details
Analysis ID Analyst 26 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
32–33	Si Salamandre en flamme vit c'est peu	6	Details
Analysis ID Analyst 26 Is Cadence? No
33–35	Si Salamandre en flamme vit c'est peu	7	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
33–34	Si Salamandre en flamme vit c'est peu	7	Details
Analysis ID Analyst 26 Is Cadence? No
33–35	Si Salamandre en flamme vit c'est peu	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Bassus Voice Role (Comes 1) Tenor Voice Role (Dux 2) Contratenor Voice Role (@1 or @8) Tenor Voice Role (Above) Tenor Comments Entries between B and T, and T and Ct occur at unison. S has delayed entry mm. 35--37.
36–36	Si Salamandre en flamme vit c'est peu	7	Details
Analysis ID Analyst 26 Is Cadence? No
38–39	Si Salamandre en flamme vit c'est peu	7	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
39–41	Si Salamandre en flamme vit c'est peu	8	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Bassus Voice Role (Comes 1) Contratenor Voice Role (Dux 2) Superius Voice Role (@5) Contratenor Voice Role (@4) Superius Voice Role (Above) Contratenor
41–42	Si Salamandre en flamme vit c'est peu	8	Details
Analysis ID Analyst 26 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
44–45	Si Salamandre en flamme vit c'est peu	8	Details
Analysis ID Analyst 26 Is Cadence? No
39–46	Si Salamandre en flamme vit c'est peu	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied?
1–3	Mais dont vient que vous, damoyselles	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Dance
4–4	Mais dont vient que vous, damoyselles	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple Comments Meter change to cut C.
4–4	Mais dont vient que vous, damoyselles	1	Details
Analysis ID Analyst 26 Is Cadence? No
6–6	Mais dont vient que vous, damoyselles	2	Details
Analysis ID Analyst 26 Is Cadence? No
7–8	Mais dont vient que vous, damoyselles	2	Details
Analysis ID Analyst 26 Is Cadence? No
1–4	Mais dont vient que vous, damoyselles	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
9–10	Mais dont vient que vous, damoyselles	5	Details
Analysis ID Analyst 26 Is Cadence? No
11–11	Mais dont vient que vous, damoyselles	5	Details
Analysis ID Analyst 26 Is Cadence? No
11–11	Mais dont vient que vous, damoyselles	6	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
11–13	Mais dont vient que vous, damoyselles	6	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Stagger Comments 3/8 between S and B.
15–15	Mais dont vient que vous, damoyselles	6	Details
Analysis ID Analyst 26 Is Cadence? No
15–16	Mais dont vient que vous, damoyselles	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple Comments 3/8 in S and B. Identical to mm. 11-13 of phrase 6.
17–18	Mais dont vient que vous, damoyselles	7	Details
Analysis ID Analyst 26 Is Cadence? No
18–18	Mais dont vient que vous, damoyselles	7	Details
Analysis ID Analyst 26 Is Cadence? No
20–21	Mais dont vient que vous, damoyselles	8	Details
Analysis ID Analyst 26 Is Cadence? No
21–22	Mais dont vient que vous, damoyselles	8	Details
Analysis ID Analyst 26 Is Cadence? No
23–25	Mais dont vient que vous, damoyselles	9	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied? Comments Cadence to B-flat rather than D.
26–26	Mais dont vient que vous, damoyselles	9	Details
Analysis ID Analyst 26 Is Cadence? No
27–27	Mais dont vient que vous, damoyselles	10	Details
Analysis ID Analyst 26 Is Cadence? No
26–28	Mais dont vient que vous, damoyselles	10	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Bassus Voice Role (Comes 1) Superius Voice Role (@5) Superius Voice Role (Above) Superius
30–31	Mais dont vient que vous, damoyselles	10	Details
Analysis ID Analyst 26 Is Cadence? No
1–3	Amour du coeur vient et prend sa naissance	1	Details
Analysis ID Analyst 26 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
4–5	Amour du coeur vient et prend sa naissance	1	Details
Analysis ID Analyst 26 Is Cadence? No
6–6	Amour du coeur vient et prend sa naissance	2	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
6–7	Amour du coeur vient et prend sa naissance	2	Details
Analysis ID Analyst 26 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
9–10	Amour du coeur vient et prend sa naissance	2	Details
Analysis ID Analyst 26 Is Cadence? No
10–15	Amour du coeur vient et prend sa naissance	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied? Comments Note values occasionally adjusted to accommodate text.
15–19	Amour du coeur vient et prend sa naissance	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments CT has semibreve rest at cadence (m. 19).
19–21	Amour du coeur vient et prend sa naissance	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Stagger
19–20	Amour du coeur vient et prend sa naissance	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Superius Voice Role (Comes 1) Tenor Voice Role (@4) Tenor Voice Role (Below) Tenor
21–22	Amour du coeur vient et prend sa naissance	5	Details
Analysis ID Analyst 26 Is Cadence? No
22–22	Amour du coeur vient et prend sa naissance	6	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
22–23	Amour du coeur vient et prend sa naissance	6	Details
Analysis ID Analyst 26 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
24–26	Amour du coeur vient et prend sa naissance	6	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Bassus Voice Role (Comes 1) Tenor Voice Role (Dux 2) Superius Voice Role (Comes 2) Contratenor Voice Role (@5) Superius Voice Role (@4) Tenor Voice Role (Above) Tenor Voice Role (Below) Contratenor Other Counterpoint Invertible Counterpoint
25–26	Amour du coeur vient et prend sa naissance	6	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Enjambment
25–26	Amour du coeur vient et prend sa naissance	6	Details
Analysis ID Analyst 26 Is Cadence? No
27–28	Amour du coeur vient et prend sa naissance	7	Details
Analysis ID Analyst 26 Is Cadence? No
28–30	Amour du coeur vient et prend sa naissance	7	Details
Analysis ID Analyst 26 Is Cadence? No
30–30	Amour du coeur vient et prend sa naissance	7	Details
Analysis ID Analyst 26 Is Cadence? No
30–32	Amour du coeur vient et prend sa naissance	8	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Tenor Voice Role (Comes 1) Contratenor Voice Role (@1 or @8) Contratenor
32–33	Amour du coeur vient et prend sa naissance	8	Details
Analysis ID Analyst 26 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
34–35	Amour du coeur vient et prend sa naissance	8	Details
Analysis ID Analyst 26 Is Cadence? No Comments The phrase doesn't stop to cadence, just as the heart doesn't stop at one love.
36–38	Amour du coeur vient et prend sa naissance	9	Details
Analysis ID Analyst 26 Is Cadence? No
40–43	Amour du coeur vient et prend sa naissance	10	Details
Analysis ID Analyst 26 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) Tenor Voice Role (Above) Superius Comments Duplication of subject at unison entries sets "a single heart."
40–43	Amour du coeur vient et prend sa naissance	10	Details
Analysis ID Analyst 26 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) Tenor Voice Role (Above) Superius Text Treatment Text Representation Comments Repetition of subject at unison by CT, T, and B sets "a single heart."
52–52	Amour du coeur vient et prend sa naissance	10	Details
Analysis ID Analyst 26 Is Cadence? No
45–52	Amour du coeur vient et prend sa naissance	10	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 10 Repeat, Exact or Varied? Comments Final ending.
4–5	Amour et moy avons faict accointance	1	Details
Analysis ID Analyst 26 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 (@5) Tenor Voice Role (Above) Tenor Other Counterpoint Stretto Fuga
5–5	Amour et moy avons faict accointance	1	Details
Analysis ID Analyst 26 Is Cadence? No
7–7	Amour et moy avons faict accointance	1	Details
Analysis ID Analyst 26 Is Cadence? No
9–10	Amour et moy avons faict accointance	2	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Stagger
11–12	Amour et moy avons faict accointance	2	Details
Analysis ID Analyst 26 Is Cadence? No
12–13	Amour et moy avons faict accointance	3	Details
Analysis ID Analyst 26 Is Cadence? No
12–14	Amour et moy avons faict accointance	3	Details
Analysis ID Analyst 26 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
15–16	Amour et moy avons faict accointance	3	Details
Analysis ID Analyst 26 Is Cadence? No
16–17	Amour et moy avons faict accointance	4	Details
Analysis ID Analyst 26 Is Cadence? No
19–20	Amour et moy avons faict accointance	4	Details
Analysis ID Analyst 26 Is Cadence? No
20–20	Amour et moy avons faict accointance	4	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Superius Voice Role (Comes 1) Bassus Voice Role (@1 or @8) Bassus Voice Role (Below) Bassus Other Counterpoint Stretto Fuga
21–22	Amour et moy avons faict accointance	4	Details
Analysis ID Analyst 26 Is Cadence? No Comments Bass up 2.
22–24	Amour et moy avons faict accointance	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Superius Voice Role (Comes 1) Bassus Voice Role (@1 or @8) Bassus Voice Role (Below) Bassus
25–26	Amour et moy avons faict accointance	5	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
25–28	Amour et moy avons faict accointance	6	Details
Analysis ID Analyst 26 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
26–28	Amour et moy avons faict accointance	6	Details
Analysis ID Analyst 26 Is Cadence? No
29–30	Amour et moy avons faict accointance	6	Details
Analysis ID Analyst 26 Is Cadence? No
31–32	Amour et moy avons faict accointance	6	Details
Analysis ID Analyst 26 Is Cadence? No
32–34	Amour et moy avons faict accointance	7	Details
Analysis ID Analyst 26 Is Cadence? No
35–37	Amour et moy avons faict accointance	7	Details
Analysis ID Analyst 26 Is Cadence? No
38–39	Amour et moy avons faict accointance	7	Details
Analysis ID Analyst 26 Is Cadence? No
39–41	Amour et moy avons faict accointance	8	Details
Analysis ID Analyst 26 Is Cadence? No
41–42	Amour et moy avons faict accointance	8	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1. Repetition of first mm. 1-4 phrase 1.
1–1	Tant plus sur toy sont arrestez mes yeulx	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
2–4	Tant plus sur toy sont arrestez mes yeulx	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Formulas Romanesca
4–4	Tant plus sur toy sont arrestez mes yeulx	1	Details
Analysis ID Analyst 26 Is Cadence? No
6–7	Tant plus sur toy sont arrestez mes yeulx	2	Details
Analysis ID Analyst 26 Is Cadence? No
4–7	Tant plus sur toy sont arrestez mes yeulx	2	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Tenor Voice Role (Comes 1) Contratenor Voice Role (Dux 2) Bassus Voice Role (Comes 2) Superius Voice Role (@1 or @8) Contratenor Voice Role (Above) Superius Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint, Stretto Fuga
9–10	Tant plus sur toy sont arrestez mes yeulx	2	Details
Analysis ID Analyst 26 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) Bassus Voice Role (@5) Superius Voice Role (Above) Superius Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint
10–11	Tant plus sur toy sont arrestez mes yeulx	2	Details
Analysis ID Analyst 26 Is Cadence? No
12–12	Tant plus sur toy sont arrestez mes yeulx	2	Details
Analysis ID Analyst 26 Is Cadence? No
1–5	Tant plus sur toy sont arrestez mes yeulx	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
4–12	Tant plus sur toy sont arrestez mes yeulx	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
13–15	Tant plus sur toy sont arrestez mes yeulx	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
13–14	Tant plus sur toy sont arrestez mes yeulx	5	Details
Analysis ID Analyst 26 Is Cadence? No
16–16	Tant plus sur toy sont arrestez mes yeulx	5	Details
Analysis ID Analyst 26 Is Cadence? No
16–18	Tant plus sur toy sont arrestez mes yeulx	6	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
18–19	Tant plus sur toy sont arrestez mes yeulx	6	Details
Analysis ID Analyst 26 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
20–21	Tant plus sur toy sont arrestez mes yeulx	6	Details
Analysis ID Analyst 26 Is Cadence? No Comments Unclear which voice would have been tenorizans.
21–21	Tant plus sur toy sont arrestez mes yeulx	7	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
24–25	Tant plus sur toy sont arrestez mes yeulx	7	Details
Analysis ID Analyst 26 Is Cadence? No Comments Thinly disguised parallel 5 between T and B.
22–23	Tant plus sur toy sont arrestez mes yeulx	7	Details
Analysis ID Analyst 26 Is Cadence? No
26–27	Tant plus sur toy sont arrestez mes yeulx	7	Details
Analysis ID Analyst 26 Is Cadence? No
27–36	Tant plus sur toy sont arrestez mes yeulx	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
27–36	Tant plus sur toy sont arrestez mes yeulx	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 8 Repeat, Exact or Varied?
1–5	Las, si tu as plaisir en mon ennuy	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple Text Treatment Text Declamation
4–5	Las, si tu as plaisir en mon ennuy	1	Details
Analysis ID Analyst 26 Is Cadence? No
5–11	Las, si tu as plaisir en mon ennuy	2	Details
Analysis ID Analyst 26 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 (Below) Superius Other Counterpoint Invertible Counterpoint, Stretto Fuga
7–7	Las, si tu as plaisir en mon ennuy	2	Details
Analysis ID Analyst 26 Is Cadence? No
8–9	Las, si tu as plaisir en mon ennuy	2	Details
Analysis ID Analyst 26 Is Cadence? No
9–10	Las, si tu as plaisir en mon ennuy	2	Details
Analysis ID Analyst 26 Is Cadence? No
11–11	Las, si tu as plaisir en mon ennuy	2	Details
Analysis ID Analyst 26 Is Cadence? No
11–16	Las, si tu as plaisir en mon ennuy	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Repeat, Exact or Varied? Comments Initial long omitted. Occasionally note values adjust to accommodate text.
15–22	Las, si tu as plaisir en mon ennuy	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
22–25	Las, si tu as plaisir en mon ennuy	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
24–25	Las, si tu as plaisir en mon ennuy	5	Details
Analysis ID Analyst 26 Is Cadence? No
24–25	Las, si tu as plaisir en mon ennuy	5	Details
Analysis ID Analyst 26 Is Cadence? No
25–26	Las, si tu as plaisir en mon ennuy	6	Details
Analysis ID Analyst 26 Is Cadence? No
28–28	Las, si tu as plaisir en mon ennuy	6	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Representation Comments C cadence immediately undermined by A that begins following phrase, perhaps reflecting parenthetical addition to lover's address.
29–32	Las, si tu as plaisir en mon ennuy	7	Details
Analysis ID Analyst 26 Is Cadence? No
32–32	Las, si tu as plaisir en mon ennuy	7	Details
Analysis ID Analyst 26 Is Cadence? No
33–34	Las, si tu as plaisir en mon ennuy	8	Details
Analysis ID Analyst 26 Is Cadence? No Other Formulas Romanesca Comments Romanesca sets the lover's sweet death: "mort me sera doulce."
34–34	Las, si tu as plaisir en mon ennuy	8	Details
Analysis ID Analyst 26 Is Cadence? No
35–35	Las, si tu as plaisir en mon ennuy	8	Details
Analysis ID Analyst 26 Is Cadence? No
33–35	Las, si tu as plaisir en mon ennuy	8	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
36–37	Las, si tu as plaisir en mon ennuy	8	Details
Analysis ID Analyst 26 Is Cadence? No
33–37	Las, si tu as plaisir en mon ennuy	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied?
33–34	Las, si tu as plaisir en mon ennuy	8	Details
Analysis ID Analyst 26 Is Cadence? No Other Formulas Romanesca Text Treatment Text Representation Comments Romanesca sets the lover's sweet death: "Mort me sera doulce."
1–2	Chasse rigueur loing de toy qui es belle	1	Details
Analysis ID Analyst 26 Is Cadence? No
2–4	Chasse rigueur loing de toy qui es belle	1	Details
Analysis ID Analyst 26 Is Cadence? No
4–5	Chasse rigueur loing de toy qui es belle	1	Details
Analysis ID Analyst 26 Is Cadence? No
5–7	Chasse rigueur loing de toy qui es belle	2	Details
Analysis ID Analyst 26 Is Cadence? No
8–8	Chasse rigueur loing de toy qui es belle	2	Details
Analysis ID Analyst 26 Is Cadence? No
1–5	Chasse rigueur loing de toy qui es belle	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
5–9	Chasse rigueur loing de toy qui es belle	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments T final long becomes breve in second ending.
11–12	Chasse rigueur loing de toy qui es belle	5	Details
Analysis ID Analyst 26 Is Cadence? No
12–17	Chasse rigueur loing de toy qui es belle	5	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Enjambment
12–13	Chasse rigueur loing de toy qui es belle	5	Details
Analysis ID Analyst 26 Is Cadence? No
14–16	Chasse rigueur loing de toy qui es belle	6	Details
Analysis ID Analyst 26 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
16–17	Chasse rigueur loing de toy qui es belle	6	Details
Analysis ID Analyst 26 Is Cadence? No
17–18	Chasse rigueur loing de toy qui es belle	7	Details
Analysis ID Analyst 26 Is Cadence? No
17–19	Chasse rigueur loing de toy qui es belle	7	Details
Analysis ID Analyst 26 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 (Below) Tenor
18–20	Chasse rigueur loing de toy qui es belle	7	Details
Analysis ID Analyst 26 Is Cadence? No
21–22	Chasse rigueur loing de toy qui es belle	7	Details
Analysis ID Analyst 26 Is Cadence? No
20–22	Chasse rigueur loing de toy qui es belle	8	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
20–21	Chasse rigueur loing de toy qui es belle	8	Details
Analysis ID Analyst 26 Is Cadence? No Other Formulas Romanesca
22–24	Chasse rigueur loing de toy qui es belle	8	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type PEn Stacked Voice Role (Dux 1) Bassus Voice Role (Comes 1) Contratenor Voice Role (Dux 2) Tenor Voice Role (@5) Contratenor Voice Role (Above) Contratenor Comments Ct and T voices crossed.
24–26	Chasse rigueur loing de toy qui es belle	8	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
22–22	Chasse rigueur loing de toy qui es belle	8	Details
Analysis ID Analyst 26 Is Cadence? No
23–25	Chasse rigueur loing de toy qui es belle	8	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Tenor Voice Role (Comes 1) Contratenor Voice Role (@1 or @8) Contratenor Voice Role (Above) Contratenor
24–25	Chasse rigueur loing de toy qui es belle	8	Details
Analysis ID Analyst 26 Is Cadence? No Other Formulas Romanesca
24–25	Chasse rigueur loing de toy qui es belle	8	Details
Analysis ID Analyst 26 Is Cadence? No
26–30	Chasse rigueur loing de toy qui es belle	9	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 8 Repeat, Exact or Varied? Comments 1. Omits soprano's text overlap with previous phrase 2. Evaded cadence.
29–30	Chasse rigueur loing de toy qui es belle	9	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
30–31	Chasse rigueur loing de toy qui es belle	10	Details
Analysis ID Analyst 26 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
35–36	Chasse rigueur loing de toy qui es belle	10	Details
Analysis ID Analyst 26 Is Cadence? No
1–4	Au joly bocquet croist la violette	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type NIM Voice Role (Upper Voice 1 NIM) Superius Voice Role (Lower Voice 1 NIM) Contratenor Voice Role (Upper Voice 2 NIM) Tenor Voice Role (Lower Voice 2 NIM) Bassus Comments NIM includes both phrase 1 and 2.
5–6	Au joly bocquet croist la violette	1	Details
Analysis ID Analyst 26 Is Cadence? No
1–4	Au joly bocquet croist la violette	2	Details
Analysis ID Analyst 26 Is Cadence? No Voice Role (Upper Voice 1 NIM) Superius Voice Role (Lower Voice 1 NIM) Contratenor Voice Role (Upper Voice 2 NIM) Tenor Voice Role (Lower Voice 2 NIM) Bassus Comments NIM includes both phrase 1 and 2.
2–2	Au joly bocquet croist la violette	2	Details
Analysis ID Analyst 26 Is Cadence? No
4–4	Au joly bocquet croist la violette	2	Details
Analysis ID Analyst 26 Is Cadence? No
6–9	Au joly bocquet croist la violette	2	Details
Analysis ID Analyst 26 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
8–9	Au joly bocquet croist la violette	2	Details
Analysis ID Analyst 26 Is Cadence? No
9–10	Au joly bocquet croist la violette	3	Details
Analysis ID Analyst 26 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
10–10	Au joly bocquet croist la violette	3	Details
Analysis ID Analyst 26 Is Cadence? No
10–13	Au joly bocquet croist la violette	4	Details
Analysis ID Analyst 26 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
10–11	Au joly bocquet croist la violette	4	Details
Analysis ID Analyst 26 Is Cadence? No
12–12	Au joly bocquet croist la violette	4	Details
Analysis ID Analyst 26 Is Cadence? No
16–16	Au joly bocquet croist la violette	4	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
17–17	Au joly bocquet croist la violette	5	Details
Analysis ID Analyst 26 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
17–17	Au joly bocquet croist la violette	5	Details
Analysis ID Analyst 26 Is Cadence? No
18–18	Au joly bocquet croist la violette	6	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
18–19	Au joly bocquet croist la violette	6	Details
Analysis ID Analyst 26 Is Cadence? No
19–20	Au joly bocquet croist la violette	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
20–20	Au joly bocquet croist la violette	7	Details
Analysis ID Analyst 26 Is Cadence? No
20–21	Au joly bocquet croist la violette	8	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
21–21	Au joly bocquet croist la violette	8	Details
Analysis ID Analyst 26 Is Cadence? No
21–22	Au joly bocquet croist la violette	9	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
22–22	Au joly bocquet croist la violette	9	Details
Analysis ID Analyst 26 Is Cadence? No
23–25	Au joly bocquet croist la violette	10	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
24–25	Au joly bocquet croist la violette	10	Details
Analysis ID Analyst 26 Is Cadence? No
23–25	Au joly bocquet croist la violette	10	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 10 Repeat, Exact or Varied?
25–26	Au joly bocquet croist la violette	11	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type NIM Voice Role (Upper Voice 1 NIM) Superius Voice Role (Lower Voice 1 NIM) Contratenor Voice Role (Upper Voice 2 NIM) Tenor Voice Role (Lower Voice 2 NIM) Bassus Comments Re-ordered repetition of first phrase (mm. 1--4).
28–28	Au joly bocquet croist la violette	11	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
28–28	Au joly bocquet croist la violette	11	Details
Analysis ID Analyst 26 Is Cadence? No
25–28	Au joly bocquet croist la violette	11	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 11 Repeat, Exact or Varied?
27–27	Au joly bocquet croist la violette	12	Details
Analysis ID Analyst 26 Is Cadence? No
30–31	Au joly bocquet croist la violette	12	Details
Analysis ID Analyst 26 Is Cadence? No
27–31	Au joly bocquet croist la violette	12	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 12 Repeat, Exact or Varied?
1–4	Amour voyant le travail soucieux	1	Details
Analysis ID Analyst 26 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
1–3	Amour voyant le travail soucieux	1	Details
Analysis ID Analyst 26 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 Other Counterpoint Stretto Fuga
6–7	Amour voyant le travail soucieux	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Formulas Romanesca
6–7	Amour voyant le travail soucieux	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Tenor Voice Role (Comes 1) Bassus Voice Role (@4) Bassus Voice Role (Below) Bassus Other Counterpoint Stretto Fuga
6–7	Amour voyant le travail soucieux	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Tenor Voice Role (Comes 1) Bassus Voice Role (@4) Bassus Voice Role (Below) Bassus Other Counterpoint Stretto Fuga
7–8	Amour voyant le travail soucieux	1	Details
Analysis ID Analyst 26 Is Cadence? No
7–8	Amour voyant le travail soucieux	2	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
7–10	Amour voyant le travail soucieux	2	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type ID Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Superius Voice Role (Dux 2) Bassus Voice Role (Comes 2) Tenor Voice Role (@4) Superius Voice Role (Above) Superius Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint
11–12	Amour voyant le travail soucieux	2	Details
Analysis ID Analyst 26 Is Cadence? No
13–14	Amour voyant le travail soucieux	2	Details
Analysis ID Analyst 26 Is Cadence? No
1–8	Amour voyant le travail soucieux	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
7–15	Amour voyant le travail soucieux	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Second ending.
16–19	Amour voyant le travail soucieux	5	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Declamation
18–18	Amour voyant le travail soucieux	5	Details
Analysis ID Analyst 26 Is Cadence? No
19–22	Amour voyant le travail soucieux	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type NIM Voice Role (Upper Voice 1 NIM) Superius Voice Role (Lower Voice 1 NIM) Contratenor Voice Role (Upper Voice 2 NIM) Tenor Voice Role (Lower Voice 2 NIM) Bassus Other Counterpoint Invertible Counterpoint
21–22	Amour voyant le travail soucieux	5	Details
Analysis ID Analyst 26 Is Cadence? No
22–24	Amour voyant le travail soucieux	6	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
27–28	Amour voyant le travail soucieux	6	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
28–36	Amour voyant le travail soucieux	7	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Da Capo Earlier Phrase 1 Repeat, Exact or Varied?
28–36	Amour voyant le travail soucieux	7	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 7 Repeat, Exact or Varied?
35–42	Amour voyant le travail soucieux	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Da Capo Earlier Phrase 2 Repeat, Exact or Varied?
35–42	Amour voyant le travail soucieux	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied? Comments Final ending.
2–4	L'aveuglé Dieu qui partout vole nud	1	Details
Analysis ID Analyst 26 Is Cadence? No
5–6	L'aveuglé Dieu qui partout vole nud	1	Details
Analysis ID Analyst 26 Is Cadence? No
5–6	L'aveuglé Dieu qui partout vole nud	1	Details
Analysis ID Analyst 26 Is Cadence? No
5–6	L'aveuglé Dieu qui partout vole nud	2	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
5–6	L'aveuglé Dieu qui partout vole nud	2	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
7–8	L'aveuglé Dieu qui partout vole nud	2	Details
Analysis ID Analyst 26 Is Cadence? No
10–11	L'aveuglé Dieu qui partout vole nud	2	Details
Analysis ID Analyst 26 Is Cadence? No
12–13	L'aveuglé Dieu qui partout vole nud	2	Details
Analysis ID Analyst 26 Is Cadence? No
1–6	L'aveuglé Dieu qui partout vole nud	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
5–14	L'aveuglé Dieu qui partout vole nud	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Second ending.
18–19	L'aveuglé Dieu qui partout vole nud	5	Details
Analysis ID Analyst 26 Is Cadence? No
18–20	L'aveuglé Dieu qui partout vole nud	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Stagger
18–19	L'aveuglé Dieu qui partout vole nud	5	Details
Analysis ID Analyst 26 Is Cadence? No
20–21	L'aveuglé Dieu qui partout vole nud	6	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
21–21	L'aveuglé Dieu qui partout vole nud	6	Details
Analysis ID Analyst 26 Is Cadence? No
22–23	L'aveuglé Dieu qui partout vole nud	6	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Fauxbourdon
25–26	L'aveuglé Dieu qui partout vole nud	6	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
26–31	L'aveuglé Dieu qui partout vole nud	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Dance Text Treatment Text Representation Comments Change to triple meter and HR Dance perhaps ironically sets "more dangerous and more deadly."
30–31	L'aveuglé Dieu qui partout vole nud	7	Details
Analysis ID Analyst 26 Is Cadence? No
30–32	L'aveuglé Dieu qui partout vole nud	7	Details
Analysis ID Analyst 26 Is Cadence? No
36–37	L'aveuglé Dieu qui partout vole nud	8	Details
Analysis ID Analyst 26 Is Cadence? No
37–38	L'aveuglé Dieu qui partout vole nud	9	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
37–43	L'aveuglé Dieu qui partout vole nud	9	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Da Capo Earlier Phrase 1 Repeat, Exact or Varied?
37–43	L'aveuglé Dieu qui partout vole nud	9	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 9 Repeat, Exact or Varied? Comments Tenor enters early (mm. 50--51 of first ending).
42–52	L'aveuglé Dieu qui partout vole nud	10	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Da Capo Earlier Phrase 2 Repeat, Exact or Varied? Comments Occasionally note values adjusted to accommodate text.
42–52	L'aveuglé Dieu qui partout vole nud	10	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 10 Repeat, Exact or Varied? Comments Final ending.
1–3	Si j'estois mariée à mon amy	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type ID Voice Role (Dux 1) Bassus Voice Role (Comes 1) Tenor Voice Role (Dux 2) Contratenor Voice Role (Comes 2) Superius Voice Role (@5) Tenor Voice Role (@4) Contratenor Voice Role (Above) Tenor
4–6	Si j'estois mariée à mon amy	1	Details
Analysis ID Analyst 26 Is Cadence? No
4–6	Si j'estois mariée à mon amy	2	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
5–7	Si j'estois mariée à mon amy	2	Details
Analysis ID Analyst 26 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 Stretto Fuga
9–10	Si j'estois mariée à mon amy	2	Details
Analysis ID Analyst 26 Is Cadence? No
11–11	Si j'estois mariée à mon amy	2	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
11–13	Si j'estois mariée à mon amy	3	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
12–13	Si j'estois mariée à mon amy	3	Details
Analysis ID Analyst 26 Is Cadence? No
13–15	Si j'estois mariée à mon amy	4	Details
Analysis ID Analyst 26 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 Comments Phrase 5 part of PEn.
17–19	Si j'estois mariée à mon amy	4	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Enjambment
13–15	Si j'estois mariée à mon amy	5	Details
Analysis ID Analyst 26 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 (@1 or @8) Tenor Voice Role (@5) Superius Voice Role (Above) Superius Voice Role (Below) Tenor Other Counterpoint Invertible Counterpoint Comments Phrase 4 part of PEn.
16–16	Si j'estois mariée à mon amy	5	Details
Analysis ID Analyst 26 Is Cadence? No
16–16	Si j'estois mariée à mon amy	5	Details
Analysis ID Analyst 26 Is Cadence? No
19–19	Si j'estois mariée à mon amy	5	Details
Analysis ID Analyst 26 Is Cadence? No
19–21	Si j'estois mariée à mon amy	6	Details
Analysis ID Analyst 26 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
21–23	Si j'estois mariée à mon amy	6	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Superius Voice Role (Comes 1) Bassus Voice Role (@1 or @8) Bassus Voice Role (Below) Bassus
24–25	Si j'estois mariée à mon amy	6	Details
Analysis ID Analyst 26 Is Cadence? No
25–26	Si j'estois mariée à mon amy	6	Details
Analysis ID Analyst 26 Is Cadence? No Comments T moves up 2.
26–26	Si j'estois mariée à mon amy	7	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
27–28	Si j'estois mariée à mon amy	7	Details
Analysis ID Analyst 26 Is Cadence? No
1–3	Dame excellente, en vertu bien apprise	1	Details
Analysis ID Analyst 26 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
3–4	Dame excellente, en vertu bien apprise	1	Details
Analysis ID Analyst 26 Is Cadence? No
5–6	Dame excellente, en vertu bien apprise	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Tenor Voice Role (Comes 1) Superius Voice Role (@4) Superius Voice Role (Above) Superius Other Counterpoint Stretto Fuga
5–6	Dame excellente, en vertu bien apprise	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Formulas Romanesca
7–8	Dame excellente, en vertu bien apprise	1	Details
Analysis ID Analyst 26 Is Cadence? No
7–8	Dame excellente, en vertu bien apprise	1	Details
Analysis ID Analyst 26 Is Cadence? No
8–12	Dame excellente, en vertu bien apprise	2	Details
Analysis ID Analyst 26 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) Tenor Voice Role (@5) Superius Voice Role (Above) Superius Voice Role (Below) Tenor Other Counterpoint Invertible Counterpoint, Stretto Fuga
11–12	Dame excellente, en vertu bien apprise	2	Details
Analysis ID Analyst 26 Is Cadence? No
11–11	Dame excellente, en vertu bien apprise	2	Details
Analysis ID Analyst 26 Is Cadence? No
1–8	Dame excellente, en vertu bien apprise	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
8–12	Dame excellente, en vertu bien apprise	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
13–15	Dame excellente, en vertu bien apprise	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
13–13	Dame excellente, en vertu bien apprise	5	Details
Analysis ID Analyst 26 Is Cadence? No
16–17	Dame excellente, en vertu bien apprise	5	Details
Analysis ID Analyst 26 Is Cadence? No
16–19	Dame excellente, en vertu bien apprise	6	Details
Analysis ID Analyst 26 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) Superius Voice Role (@5) Bassus Voice Role (Above) Superius Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint
19–20	Dame excellente, en vertu bien apprise	6	Details
Analysis ID Analyst 26 Is Cadence? No
21–22	Dame excellente, en vertu bien apprise	6	Details
Analysis ID Analyst 26 Is Cadence? No
21–24	Dame excellente, en vertu bien apprise	7	Details
Analysis ID Analyst 26 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 Comments Unusual 3 SB interval between entries.
23–25	Dame excellente, en vertu bien apprise	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Bassus Voice Role (@4) Bassus Voice Role (Below) Bassus
28–29	Dame excellente, en vertu bien apprise	7	Details
Analysis ID Analyst 26 Is Cadence? No
28–29	Dame excellente, en vertu bien apprise	7	Details
Analysis ID Analyst 26 Is Cadence? No
29–30	Dame excellente, en vertu bien apprise	7	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Representation Comments "Je trespasse."
21–30	Dame excellente, en vertu bien apprise	7	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 7 Repeat, Exact or Varied?
30–37	Dame excellente, en vertu bien apprise	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Open first ending.
30–37	Dame excellente, en vertu bien apprise	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied? Comments Closed final ending.
3–6	Ayant servy soubs faveur de l'attente	1	Details
Analysis ID Analyst 26 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 Other Counterpoint Invertible Counterpoint, Stretto Fuga
9–10	Ayant servy soubs faveur de l'attente	1	Details
Analysis ID Analyst 26 Is Cadence? No Comments S descends to G.
9–13	Ayant servy soubs faveur de l'attente	2	Details
Analysis ID Analyst 26 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
13–13	Ayant servy soubs faveur de l'attente	2	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
13–15	Ayant servy soubs faveur de l'attente	3	Details
Analysis ID Analyst 26 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
14–16	Ayant servy soubs faveur de l'attente	3	Details
Analysis ID Analyst 26 Is Cadence? No
16–18	Ayant servy soubs faveur de l'attente	3	Details
Analysis ID Analyst 26 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
21–21	Ayant servy soubs faveur de l'attente	3	Details
Analysis ID Analyst 26 Is Cadence? No
22–22	Ayant servy soubs faveur de l'attente	3	Details
Analysis ID Analyst 26 Is Cadence? No
22–32	Ayant servy soubs faveur de l'attente	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Da Capo Earlier Phrase 1 Repeat, Exact or Varied? Comments Entry of voices varied.
22–32	Ayant servy soubs faveur de l'attente	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 4 Repeat, Exact or Varied? Comments Final ending.
3–4	O cruaulté logée en grant beaulté	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Formulas Romanesca
1–4	O cruaulté logée en grant beaulté	1	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple Text Treatment Text Declamation
4–4	O cruaulté logée en grant beaulté	1	Details
Analysis ID Analyst 26 Is Cadence? No
5–8	O cruaulté logée en grant beaulté	2	Details
Analysis ID Analyst 26 Is Cadence? No
5–7	O cruaulté logée en grant beaulté	2	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple Text Treatment Text Declamation
8–9	O cruaulté logée en grant beaulté	2	Details
Analysis ID Analyst 26 Is Cadence? No
10–12	O cruaulté logée en grant beaulté	3	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Tenor Voice Role (Comes 1) Bassus Voice Role (@1 or @8) Bassus Voice Role (Below) Bassus
13–13	O cruaulté logée en grant beaulté	3	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
13–16	O cruaulté logée en grant beaulté	4	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Tenor Voice Role (Comes 1) Superius Voice Role (Dux 2) Bassus Voice Role (Comes 2) Contratenor Voice Role (@1 or @8) Superius Voice Role (@5) Bassus Voice Role (Above) Superius Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint
16–18	O cruaulté logée en grant beaulté	4	Details
Analysis ID Analyst 26 Is Cadence? No Other Formulas Romanesca Comments Romanesca section here repeat of mm. 3--4 from phrase 1.
17–18	O cruaulté logée en grant beaulté	4	Details
Analysis ID Analyst 26 Is Cadence? No
13–19	O cruaulté logée en grant beaulté	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 4 Repeat, Exact or Varied?
24–30	O cruaulté logée en grant beaulté	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 4 Repeat, Exact or Varied?
18–19	O cruaulté logée en grant beaulté	5	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
22–23	O cruaulté logée en grant beaulté	5	Details
Analysis ID Analyst 26 Is Cadence? No
24–24	O cruaulté logée en grant beaulté	5	Details
Analysis ID Analyst 26 Is Cadence? No
29–36	O cruaulté logée en grant beaulté	5	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 5 Repeat, Exact or Varied? Comments Minim instead of two semiminims in tenor (m. 30).
1–4	En ce verd moys, temps opportun	1	Details
Analysis ID Analyst 26 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) Contratenor Voice Role (@4) Tenor Voice Role (Below) Contratenor Comments Beginning of tenor entry truncated.
3–4	En ce verd moys, temps opportun	1	Details
Analysis ID Analyst 26 Is Cadence? No
5–8	En ce verd moys, temps opportun	2	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Bassus Voice Role (Comes 1) Tenor Voice Role (Dux 2) Superius Voice Role (@1 or @8) Tenor Voice Role (Above) Tenor Comments S anticipates subject in mm. 4 - 5.
11–12	En ce verd moys, temps opportun	2	Details
Analysis ID Analyst 26 Is Cadence? No
12–16	En ce verd moys, temps opportun	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied? Comments Tenor enters early with anticipation of subject.
15–23	En ce verd moys, temps opportun	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
23–26	En ce verd moys, temps opportun	5	Details
Analysis ID Analyst 26 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) Bassus Voice Role (Above) Superius Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint
26–26	En ce verd moys, temps opportun	5	Details
Analysis ID Analyst 26 Is Cadence? No
28–30	En ce verd moys, temps opportun	6	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Tenor 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 Text Treatment Text Representation Comments Imitation of single pitch on "mot."
30–32	En ce verd moys, temps opportun	6	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Stagger
31–32	En ce verd moys, temps opportun	6	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
32–34	En ce verd moys, temps opportun	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Superius Voice Role (Comes 1) Contratenor Voice Role (@5) Contratenor Voice Role (Below) Contratenor Other Counterpoint Stretto Fuga
34–36	En ce verd moys, temps opportun	7	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Enjambment
34–34	En ce verd moys, temps opportun	7	Details
Analysis ID Analyst 26 Is Cadence? No
40–43	En ce verd moys, temps opportun	7	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 7 Repeat, Exact or Varied?
34–36	En ce verd moys, temps opportun	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 7 Repeat, Exact or Varied? Comments Final semibreve in S & T, breve in B.
42–45	En ce verd moys, temps opportun	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 8 Repeat, Exact or Varied?
36–39	En ce verd moys, temps opportun	9	Details
Analysis ID Analyst 26 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 Comments First few notes of Ct & B respectively appear to be part of an ID, but FI between S & T continues long after ID pattern ends.
38–39	En ce verd moys, temps opportun	9	Details
Analysis ID Analyst 26 Is Cadence? No
39–40	En ce verd moys, temps opportun	9	Details
Analysis ID Analyst 26 Is Cadence? No
45–49	En ce verd moys, temps opportun	9	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 9 Repeat, Exact or Varied? Comments CT moves to 5 rather than 3 in cadence.
1–3	Mon povre cueur qui sans aulcun repos	1	Details
Analysis ID Analyst 26 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 (@4) Contratenor Voice Role (Below) Contratenor Comments S/CT duo syncopated.
6–7	Mon povre cueur qui sans aulcun repos	1	Details
Analysis ID Analyst 26 Is Cadence? No
9–11	Mon povre cueur qui sans aulcun repos	2	Details
Analysis ID Analyst 26 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
12–13	Mon povre cueur qui sans aulcun repos	2	Details
Analysis ID Analyst 26 Is Cadence? No
13–19	Mon povre cueur qui sans aulcun repos	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied? Comments S begins with minim F rather than semibreve.
19–25	Mon povre cueur qui sans aulcun repos	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Cadence evaded.
24–25	Mon povre cueur qui sans aulcun repos	4	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
26–27	Mon povre cueur qui sans aulcun repos	5	Details
Analysis ID Analyst 26 Is Cadence? No
28–29	Mon povre cueur qui sans aulcun repos	5	Details
Analysis ID Analyst 26 Is Cadence? No
29–30	Mon povre cueur qui sans aulcun repos	5	Details
Analysis ID Analyst 26 Is Cadence? No
30–31	Mon povre cueur qui sans aulcun repos	5	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
31–31	Mon povre cueur qui sans aulcun repos	6	Details
Analysis ID Analyst 26 Is Cadence? No
34–35	Mon povre cueur qui sans aulcun repos	6	Details
Analysis ID Analyst 26 Is Cadence? No
35–37	Mon povre cueur qui sans aulcun repos	7	Details
Analysis ID Analyst 26 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) Superius Voice Role (@5) Bassus Voice Role (Above) Superius Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint
37–38	Mon povre cueur qui sans aulcun repos	7	Details
Analysis ID Analyst 26 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 Other Counterpoint Stretto Fuga
38–40	Mon povre cueur qui sans aulcun repos	7	Details
Analysis ID Analyst 26 Is Cadence? No
39–40	Mon povre cueur qui sans aulcun repos	7	Details
Analysis ID Analyst 26 Is Cadence? No
40–41	Mon povre cueur qui sans aulcun repos	8	Details
Analysis ID Analyst 26 Is Cadence? No
42–42	Mon povre cueur qui sans aulcun repos	8	Details
Analysis ID Analyst 26 Is Cadence? No
43–44	Mon povre cueur qui sans aulcun repos	8	Details
Analysis ID Analyst 26 Is Cadence? No
40–45	Mon povre cueur qui sans aulcun repos	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied? Comments Final ending.
1–2	C'est a grand tort qu'on dict que le penser	1	Details
Analysis ID Analyst 26 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
2–2	C'est a grand tort qu'on dict que le penser	1	Details
Analysis ID Analyst 26 Is Cadence? No
5–7	C'est a grand tort qu'on dict que le penser	1	Details
Analysis ID Analyst 26 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
8–9	C'est a grand tort qu'on dict que le penser	1	Details
Analysis ID Analyst 26 Is Cadence? No Comments Resolution to ^3 delayed in S.
12–13	C'est a grand tort qu'on dict que le penser	2	Details
Analysis ID Analyst 26 Is Cadence? No Other Formulas Romanesca
13–14	C'est a grand tort qu'on dict que le penser	2	Details
Analysis ID Analyst 26 Is Cadence? No
1–9	C'est a grand tort qu'on dict que le penser	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
9–14	C'est a grand tort qu'on dict que le penser	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
16–16	C'est a grand tort qu'on dict que le penser	5	Details
Analysis ID Analyst 26 Is Cadence? No
17–19	C'est a grand tort qu'on dict que le penser	5	Details
Analysis ID Analyst 26 Is Cadence? No
17–18	C'est a grand tort qu'on dict que le penser	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Formulas Romanesca
18–18	C'est a grand tort qu'on dict que le penser	5	Details
Analysis ID Analyst 26 Is Cadence? No
15–16	C'est a grand tort qu'on dict que le penser	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple Text Treatment Text Declamation
20–21	C'est a grand tort qu'on dict que le penser	5	Details
Analysis ID Analyst 26 Is Cadence? No Comments No 2>1.
21–24	C'est a grand tort qu'on dict que le penser	6	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
21–22	C'est a grand tort qu'on dict que le penser	6	Details
Analysis ID Analyst 26 Is Cadence? No
24–25	C'est a grand tort qu'on dict que le penser	6	Details
Analysis ID Analyst 26 Is Cadence? No Comments Resolution to ^3 delayed in S.
25–27	C'est a grand tort qu'on dict que le penser	7	Details
Analysis ID Analyst 26 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 Other Counterpoint Invertible Counterpoint
27–28	C'est a grand tort qu'on dict que le penser	7	Details
Analysis ID Analyst 26 Is Cadence? No
29–30	C'est a grand tort qu'on dict que le penser	7	Details
Analysis ID Analyst 26 Is Cadence? No
30–35	C'est a grand tort qu'on dict que le penser	8	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type NIM Voice Role (Upper Voice 1 NIM) Superius Voice Role (Lower Voice 1 NIM) Contratenor Voice Role (Upper Voice 2 NIM) Tenor Voice Role (Lower Voice 2 NIM) Bassus Other Counterpoint Invertible Counterpoint, Stretto Fuga
34–35	C'est a grand tort qu'on dict que le penser	8	Details
Analysis ID Analyst 26 Is Cadence? No
35–40	C'est a grand tort qu'on dict que le penser	8	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied? Comments Authentic cadence.
39–40	C'est a grand tort qu'on dict que le penser	8	Details
Analysis ID Analyst 26 Is Cadence? No
1–4	Ne vous faschez si me voyez jaloux	1	Details
Analysis ID Analyst 26 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 (@1 or @8) Tenor Voice Role (@4) Contratenor Voice Role (Above) Contratenor Voice Role (Below) Tenor
5–7	Ne vous faschez si me voyez jaloux	1	Details
Analysis ID Analyst 26 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
8–8	Ne vous faschez si me voyez jaloux	1	Details
Analysis ID Analyst 26 Is Cadence? No
7–8	Ne vous faschez si me voyez jaloux	2	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
7–10	Ne vous faschez si me voyez jaloux	2	Details
Analysis ID Analyst 26 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
11–12	Ne vous faschez si me voyez jaloux	2	Details
Analysis ID Analyst 26 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
13–14	Ne vous faschez si me voyez jaloux	2	Details
Analysis ID Analyst 26 Is Cadence? No
15–22	Ne vous faschez si me voyez jaloux	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
21–28	Ne vous faschez si me voyez jaloux	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Slight rhythmic variation mm. 27 - 28.
29–30	Ne vous faschez si me voyez jaloux	5	Details
Analysis ID Analyst 26 Is Cadence? No
32–32	Ne vous faschez si me voyez jaloux	5	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Representation Comments Bass moves up 2. "Fantasie" causes unexpected transformation of prospective cadence.
32–32	Ne vous faschez si me voyez jaloux	6	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
35–36	Ne vous faschez si me voyez jaloux	6	Details
Analysis ID Analyst 26 Is Cadence? No
36–36	Ne vous faschez si me voyez jaloux	7	Details
Analysis ID Analyst 26 Is Cadence? No Text Treatment Text Overlap
36–37	Ne vous faschez si me voyez jaloux	7	Details
Analysis ID Analyst 26 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
37–39	Ne vous faschez si me voyez jaloux	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Superius Voice Role (Comes 1) Bassus Voice Role (@1 or @8) Bassus Voice Role (Below) Bassus Other Counterpoint Stretto Fuga
40–40	Ne vous faschez si me voyez jaloux	7	Details
Analysis ID Analyst 26 Is Cadence? No
43–44	Ne vous faschez si me voyez jaloux	8	Details
Analysis ID Analyst 26 Is Cadence? No
45–45	Ne vous faschez si me voyez jaloux	8	Details
Analysis ID Analyst 26 Is Cadence? No
45–51	Ne vous faschez si me voyez jaloux	9	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Da Capo Earlier Phrase 1 Repeat, Exact or Varied? Comments Beginning shortened by one minim (up to m. 38).
45–54	Ne vous faschez si me voyez jaloux	9	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 9 Repeat, Exact or Varied?
53–60	Ne vous faschez si me voyez jaloux	10	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Da Capo Earlier Phrase 2 Repeat, Exact or Varied? Comments Rhythmic values occasionally modified to accommodate text.
53–61	Ne vous faschez si me voyez jaloux	10	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 10 Repeat, Exact or Varied? Comments Final ending.
4–7	Rien plus ne quiers, ma dame me contente	1	Details
Analysis ID Analyst 26 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
6–7	Rien plus ne quiers, ma dame me contente	1	Details
Analysis ID Analyst 26 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
8–8	Rien plus ne quiers, ma dame me contente	1	Details
Analysis ID Analyst 26 Is Cadence? No
10–11	Rien plus ne quiers, ma dame me contente	2	Details
Analysis ID Analyst 26 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
11–12	Rien plus ne quiers, ma dame me contente	2	Details
Analysis ID Analyst 26 Is Cadence? No
13–14	Rien plus ne quiers, ma dame me contente	2	Details
Analysis ID Analyst 26 Is Cadence? No
1–8	Rien plus ne quiers, ma dame me contente	3	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
9–13	Rien plus ne quiers, ma dame me contente	4	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
14–16	Rien plus ne quiers, ma dame me contente	5	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
17–17	Rien plus ne quiers, ma dame me contente	5	Details
Analysis ID Analyst 26 Is Cadence? No
18–19	Rien plus ne quiers, ma dame me contente	5	Details
Analysis ID Analyst 26 Is Cadence? No
18–20	Rien plus ne quiers, ma dame me contente	6	Details
Analysis ID Analyst 26 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
22–23	Rien plus ne quiers, ma dame me contente	6	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
24–24	Rien plus ne quiers, ma dame me contente	6	Details
Analysis ID Analyst 26 Is Cadence? No
27–27	Rien plus ne quiers, ma dame me contente	7	Details
Analysis ID Analyst 26 Is Cadence? No Other Presentation Type HR Simple
26–28	Rien plus ne quiers, ma dame me contente	7	Details
Analysis ID Analyst 26 Is Cadence? No
28–29	Rien plus ne quiers, ma dame me contente	7	Details
Analysis ID Analyst 26 Is Cadence? No
30–34	Rien plus ne quiers, ma dame me contente	7	Details
Analysis ID Analyst 26 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 7 Repeat, Exact or Varied? Comments Entries of S & CT differ from earlier version of phrase, and B enters late.

The Lost Voices Project

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

Greenberg, Jamie

Analyses

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