The Lost Voices Project

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

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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