Herdman, Jessica

Analyses

Measures	Piece	Phrase Number
1–4	Qui souhaitez avoir tout le plaisir	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
4–5	Qui souhaitez avoir tout le plaisir	1	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Representation Comments Text representation: "plaisir" (and also "desir", in phrase 3, at the same musical moment) in a long melisma in B.
5–7	Qui souhaitez avoir tout le plaisir	1	Details
Analysis ID Analyst 27 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
6–7	Qui souhaitez avoir tout le plaisir	1	Details
Analysis ID Analyst 27 Is Cadence? No
10–11	Qui souhaitez avoir tout le plaisir	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Tenor Voice Role (Comes 1) Superius Voice Role (Dux 2) Bassus Voice Role (@1 or @8) Superius Voice Role (@5) Bassus Voice Role (Above) Superius Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint, Stretto Fuga
9–10	Qui souhaitez avoir tout le plaisir	2	Details
Analysis ID Analyst 27 Is Cadence? No
12–13	Qui souhaitez avoir tout le plaisir	2	Details
Analysis ID Analyst 27 Is Cadence? No
1–7	Qui souhaitez avoir tout le plaisir	3	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
9–13	Qui souhaitez avoir tout le plaisir	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
13–14	Qui souhaitez avoir tout le plaisir	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple Text Treatment Text Representation Comments Text representation: extreme melisma in T on "audacieuse" (mm 13-16).
17–20	Qui souhaitez avoir tout le plaisir	6	Details
Analysis ID Analyst 27 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
18–22	Qui souhaitez avoir tout le plaisir	6	Details
Analysis ID Analyst 27 Is Cadence? No
21–22	Qui souhaitez avoir tout le plaisir	6	Details
Analysis ID Analyst 27 Is Cadence? No
23–23	Qui souhaitez avoir tout le plaisir	7	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause
23–26	Qui souhaitez avoir tout le plaisir	7	Details
Analysis ID Analyst 27 Is Cadence? No
25–26	Qui souhaitez avoir tout le plaisir	7	Details
Analysis ID Analyst 27 Is Cadence? No
28–29	Qui souhaitez avoir tout le plaisir	8	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Tenor Voice Role (Comes 1) Superius Voice Role (Dux 2) Bassus Voice Role (@1 or @8) Bassus Voice Role (@5) Superius Voice Role (Above) Superius Voice Role (Below) Bassus
31–34	Qui souhaitez avoir tout le plaisir	8	Details
Analysis ID Analyst 27 Is Cadence? No
30–31	Qui souhaitez avoir tout le plaisir	8	Details
Analysis ID Analyst 27 Is Cadence? No
33–34	Qui souhaitez avoir tout le plaisir	8	Details
Analysis ID Analyst 27 Is Cadence? No
1–1	Venons au poinct, ma dame s'il vous plaist	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
1–6	Venons au poinct, ma dame s'il vous plaist	1	Details
Analysis ID Analyst 27 Is Cadence? No
5–6	Venons au poinct, ma dame s'il vous plaist	1	Details
Analysis ID Analyst 27 Is Cadence? No
1–1	Venons au poinct, ma dame s'il vous plaist	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
4–5	Venons au poinct, ma dame s'il vous plaist	1	Details
Analysis ID Analyst 27 Is Cadence? No
1–2	Venons au poinct, ma dame s'il vous plaist	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll Other Formulas Romanesca
5–7	Venons au poinct, ma dame s'il vous plaist	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Bassus Voice Role (Comes 1) Superius Voice Role (Dux 2) Tenor Voice Role (@1 or @8) Tenor Voice Role (@5) Superius Voice Role (Above) Superius Voice Role (Below) Tenor Other Counterpoint Invertible Counterpoint
8–9	Venons au poinct, ma dame s'il vous plaist	2	Details
Analysis ID Analyst 27 Is Cadence? No
5–7	Venons au poinct, ma dame s'il vous plaist	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
5–9	Venons au poinct, ma dame s'il vous plaist	2	Details
Analysis ID Analyst 27 Is Cadence? No
8–9	Venons au poinct, ma dame s'il vous plaist	2	Details
Analysis ID Analyst 27 Is Cadence? No
9–10	Venons au poinct, ma dame s'il vous plaist	3	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Bassus Voice Role (Comes 1) Superius Voice Role (@1 or @8) Superius Voice Role (Above) Superius Other Counterpoint Stretto fuga
13–14	Venons au poinct, ma dame s'il vous plaist	3	Details
Analysis ID Analyst 27 Is Cadence? No
1–4	Venons au poinct, ma dame s'il vous plaist	3	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
16–17	Venons au poinct, ma dame s'il vous plaist	4	Details
Analysis ID Analyst 27 Is Cadence? No
5–9	Venons au poinct, ma dame s'il vous plaist	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
18–20	Venons au poinct, ma dame s'il vous plaist	5	Details
Analysis ID Analyst 27 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
19–20	Venons au poinct, ma dame s'il vous plaist	5	Details
Analysis ID Analyst 27 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
20–21	Venons au poinct, ma dame s'il vous plaist	5	Details
Analysis ID Analyst 27 Is Cadence? No
10–10	Venons au poinct, ma dame s'il vous plaist	5	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause Comments All voices pause before moving onto new musical material (i.e. after phrases 3-4, which re-use the music of 1-2).
10–13	Venons au poinct, ma dame s'il vous plaist	5	Details
Analysis ID Analyst 27 Is Cadence? No
22–23	Venons au poinct, ma dame s'il vous plaist	6	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Overlap
22–25	Venons au poinct, ma dame s'il vous plaist	6	Details
Analysis ID Analyst 27 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 (@5) Superius Voice Role (Above) Superius Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint, Stretto Fuga
26–29	Venons au poinct, ma dame s'il vous plaist	6	Details
Analysis ID Analyst 27 Is Cadence? No
25–26	Venons au poinct, ma dame s'il vous plaist	6	Details
Analysis ID Analyst 27 Is Cadence? No
27–28	Venons au poinct, ma dame s'il vous plaist	6	Details
Analysis ID Analyst 27 Is Cadence? No
14–15	Venons au poinct, ma dame s'il vous plaist	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
27–28	Venons au poinct, ma dame s'il vous plaist	6	Details
Analysis ID Analyst 27 Is Cadence? No
29–31	Venons au poinct, ma dame s'il vous plaist	7	Details
Analysis ID Analyst 27 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 Voice Role (@1 or @8) Superius Voice Role (Above) Superius
34–37	Venons au poinct, ma dame s'il vous plaist	7	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 7 Repeat, Exact or Varied? Comments Partial repetition of the end of the phrase (mm 31-34), but altered in Ct, T and B to a shortened version.
33–34	Venons au poinct, ma dame s'il vous plaist	7	Details
Analysis ID Analyst 27 Is Cadence? No
15–19	Venons au poinct, ma dame s'il vous plaist	7	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 5 Repeat, Exact or Varied?
22–25	Venons au poinct, ma dame s'il vous plaist	7	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 7 Repeat, Exact or Varied?
38–42	Venons au poinct, ma dame s'il vous plaist	8	Details
Analysis ID Analyst 27 Is Cadence? No
40–41	Venons au poinct, ma dame s'il vous plaist	8	Details
Analysis ID Analyst 27 Is Cadence? No
38–42	Venons au poinct, ma dame s'il vous plaist	8	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied?
19–22	Venons au poinct, ma dame s'il vous plaist	8	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 6 Repeat, Exact or Varied?
26–28	Venons au poinct, ma dame s'il vous plaist	8	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied?
1–2	Cherchant amour, Hymen vint apparoistre	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
3–4	Cherchant amour, Hymen vint apparoistre	1	Details
Analysis ID Analyst 27 Is Cadence? No
6–8	Cherchant amour, Hymen vint apparoistre	2	Details
Analysis ID Analyst 27 Is Cadence? No
8–10	Cherchant amour, Hymen vint apparoistre	2	Details
Analysis ID Analyst 27 Is Cadence? No
9–10	Cherchant amour, Hymen vint apparoistre	2	Details
Analysis ID Analyst 27 Is Cadence? No
4–10	Cherchant amour, Hymen vint apparoistre	2	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
1–4	Cherchant amour, Hymen vint apparoistre	3	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
11–11	Cherchant amour, Hymen vint apparoistre	5	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause Comments All voices pause before moving onto new musical material (i.e. after the repeat of the material from phrases 1-2 in 3-4).
11–12	Cherchant amour, Hymen vint apparoistre	5	Details
Analysis ID Analyst 27 Is Cadence? No
12–14	Cherchant amour, Hymen vint apparoistre	5	Details
Analysis ID Analyst 27 Is Cadence? No
14–15	Cherchant amour, Hymen vint apparoistre	5	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Overlap
14–15	Cherchant amour, Hymen vint apparoistre	5	Details
Analysis ID Analyst 27 Is Cadence? No
15–17	Cherchant amour, Hymen vint apparoistre	6	Details
Analysis ID Analyst 27 Is Cadence? No Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Superius Voice Role (@4) Superius Voice Role (Above) Superius
17–19	Cherchant amour, Hymen vint apparoistre	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
20–21	Cherchant amour, Hymen vint apparoistre	6	Details
Analysis ID Analyst 27 Is Cadence? No
21–21	Cherchant amour, Hymen vint apparoistre	7	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause Comments All voices pause before returning to opening musical material (from phrases 1-2 and 3-4).
21–25	Cherchant amour, Hymen vint apparoistre	7	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
21–25	Cherchant amour, Hymen vint apparoistre	7	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 7 Repeat, Exact or Varied?
25–31	Cherchant amour, Hymen vint apparoistre	8	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
25–31	Cherchant amour, Hymen vint apparoistre	8	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied?
1–5	Cest oeil mignon, ce visage poly	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
4–5	Cest oeil mignon, ce visage poly	1	Details
Analysis ID Analyst 27 Is Cadence? No
5–6	Cest oeil mignon, ce visage poly	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
7–9	Cest oeil mignon, ce visage poly	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger
8–9	Cest oeil mignon, ce visage poly	2	Details
Analysis ID Analyst 27 Is Cadence? No
9–11	Cest oeil mignon, ce visage poly	3	Details
Analysis ID Analyst 27 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
11–14	Cest oeil mignon, ce visage poly	3	Details
Analysis ID Analyst 27 Is Cadence? No
13–14	Cest oeil mignon, ce visage poly	3	Details
Analysis ID Analyst 27 Is Cadence? No
14–16	Cest oeil mignon, ce visage poly	4	Details
Analysis ID Analyst 27 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 (@1 or @8) Tenor Voice Role (@5) Bassus Voice Role (Below) Bassus Other Counterpoint Stretto Fuga
18–21	Cest oeil mignon, ce visage poly	4	Details
Analysis ID Analyst 27 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
20–21	Cest oeil mignon, ce visage poly	4	Details
Analysis ID Analyst 27 Is Cadence? No
22–25	Cest oeil mignon, ce visage poly	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dance
24–25	Cest oeil mignon, ce visage poly	5	Details
Analysis ID Analyst 27 Is Cadence? No
25–28	Cest oeil mignon, ce visage poly	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Tenor Voice Role (Comes 1) Superius Voice Role (Dux 2) Contratenor Voice Role (@1 or @8) Superius Voice Role (@5) Contratenor Voice Role (Above) Superius Voice Role (Below) Contratenor Other Counterpoint Invertible Counterpoint, Stretto Fuga
27–28	Cest oeil mignon, ce visage poly	5	Details
Analysis ID Analyst 27 Is Cadence? No
30–33	Cest oeil mignon, ce visage poly	6	Details
Analysis ID Analyst 27 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
33–34	Cest oeil mignon, ce visage poly	6	Details
Analysis ID Analyst 27 Is Cadence? No
34–37	Cest oeil mignon, ce visage poly	7	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type NIM Voice Role (Upper Voice 1 NIM) Contratenor Voice Role (Lower Voice 1 NIM) Bassus Voice Role (Upper Voice 2 NIM) Superius Voice Role (Lower Voice 2 NIM) Tenor Other Counterpoint Stretto Fuga
37–37	Cest oeil mignon, ce visage poly	7	Details
Analysis ID Analyst 27 Is Cadence? No
37–38	Cest oeil mignon, ce visage poly	7	Details
Analysis ID Analyst 27 Is Cadence? No
41–42	Cest oeil mignon, ce visage poly	8	Details
Analysis ID Analyst 27 Is Cadence? No
43–46	Cest oeil mignon, ce visage poly	9	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dance
43–44	Cest oeil mignon, ce visage poly	9	Details
Analysis ID Analyst 27 Is Cadence? No
45–46	Cest oeil mignon, ce visage poly	9	Details
Analysis ID Analyst 27 Is Cadence? No
46–46	Cest oeil mignon, ce visage poly	9	Details
Analysis ID Analyst 27 Is Cadence? No
47–48	Cest oeil mignon, ce visage poly	10	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger
49–50	Cest oeil mignon, ce visage poly	10	Details
Analysis ID Analyst 27 Is Cadence? No
54–55	Cest oeil mignon, ce visage poly	10	Details
Analysis ID Analyst 27 Is Cadence? No
1–3	L'enfant Amour n'a plus son arc estrangé	1	Details
Analysis ID Analyst 27 Is Cadence? No
3–6	L'enfant Amour n'a plus son arc estrangé	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Tenor Voice Role (Comes 1) Superius Voice Role (Dux 2) Bassus Voice Role (@1 or @8) Superius Voice Role (Above) Superius Other Counterpoint Stretto Fuga
5–6	L'enfant Amour n'a plus son arc estrangé	1	Details
Analysis ID Analyst 27 Is Cadence? No
6–7	L'enfant Amour n'a plus son arc estrangé	2	Details
Analysis ID Analyst 27 Is Cadence? No
7–12	L'enfant Amour n'a plus son arc estrangé	2	Details
Analysis ID Analyst 27 Is Cadence? No
10–12	L'enfant Amour n'a plus son arc estrangé	2	Details
Analysis ID Analyst 27 Is Cadence? No
12–12	L'enfant Amour n'a plus son arc estrangé	3	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause Comments All voices pause before repetition of the same musical material (i.e. phrase 3-4, which re-uses the music of phrase 1-2).
1–6	L'enfant Amour n'a plus son arc estrangé	3	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
6–12	L'enfant Amour n'a plus son arc estrangé	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
13–13	L'enfant Amour n'a plus son arc estrangé	5	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause
13–14	L'enfant Amour n'a plus son arc estrangé	5	Details
Analysis ID Analyst 27 Is Cadence? No
13–18	L'enfant Amour n'a plus son arc estrangé	5	Details
Analysis ID Analyst 27 Is Cadence? No
15–18	L'enfant Amour n'a plus son arc estrangé	5	Details
Analysis ID Analyst 27 Is Cadence? No
17–18	L'enfant Amour n'a plus son arc estrangé	5	Details
Analysis ID Analyst 27 Is Cadence? No
18–24	L'enfant Amour n'a plus son arc estrangé	6	Details
Analysis ID Analyst 27 Is Cadence? No
20–21	L'enfant Amour n'a plus son arc estrangé	6	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Declamation Comments A regular cadence appears rhetorically (/grammatically, acting as a punctuation for the change of voice at the end of the statement 'on dict': (cadence).
23–24	L'enfant Amour n'a plus son arc estrangé	6	Details
Analysis ID Analyst 27 Is Cadence? No
24–25	L'enfant Amour n'a plus son arc estrangé	6	Details
Analysis ID Analyst 27 Is Cadence? No
26–31	L'enfant Amour n'a plus son arc estrangé	7	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dance
30–31	L'enfant Amour n'a plus son arc estrangé	7	Details
Analysis ID Analyst 27 Is Cadence? No
26–31	L'enfant Amour n'a plus son arc estrangé	7	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 7 Repeat, Exact or Varied?
33–35	L'enfant Amour n'a plus son arc estrangé	8	Details
Analysis ID Analyst 27 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
35–36	L'enfant Amour n'a plus son arc estrangé	8	Details
Analysis ID Analyst 27 Is Cadence? No
31–36	L'enfant Amour n'a plus son arc estrangé	8	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied?
1–3	La volunté si longtemps endormie	1	Details
Analysis ID Analyst 27 Is Cadence? No
3–4	La volunté si longtemps endormie	1	Details
Analysis ID Analyst 27 Is Cadence? No
6–7	La volunté si longtemps endormie	1	Details
Analysis ID Analyst 27 Is Cadence? No
7–8	La volunté si longtemps endormie	2	Details
Analysis ID Analyst 27 Is Cadence? No
9–10	La volunté si longtemps endormie	2	Details
Analysis ID Analyst 27 Is Cadence? No
11–12	La volunté si longtemps endormie	2	Details
Analysis ID Analyst 27 Is Cadence? No
1–7	La volunté si longtemps endormie	3	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
7–12	La volunté si longtemps endormie	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
13–13	La volunté si longtemps endormie	5	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause Comments All voices pause before moving on from the repetition of the same musical material (i.e. phrase 1-2, and phrases 3-4).
13–15	La volunté si longtemps endormie	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
15–16	La volunté si longtemps endormie	5	Details
Analysis ID Analyst 27 Is Cadence? No
16–17	La volunté si longtemps endormie	5	Details
Analysis ID Analyst 27 Is Cadence? No
17–19	La volunté si longtemps endormie	6	Details
Analysis ID Analyst 27 Is Cadence? No
21–22	La volunté si longtemps endormie	6	Details
Analysis ID Analyst 27 Is Cadence? No
22–28	La volunté si longtemps endormie	7	Details
Analysis ID Analyst 27 Is Cadence? No
28–29	La volunté si longtemps endormie	7	Details
Analysis ID Analyst 27 Is Cadence? No Comments Evaded cad: Ct to D, no 2>1.
31–33	La volunté si longtemps endormie	8	Details
Analysis ID Analyst 27 Is Cadence? No
32–33	La volunté si longtemps endormie	8	Details
Analysis ID Analyst 27 Is Cadence? No
1–1	Vive sera pour jamais n'estre morte	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
1–3	Vive sera pour jamais n'estre morte	1	Details
Analysis ID Analyst 27 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
2–5	Vive sera pour jamais n'estre morte	1	Details
Analysis ID Analyst 27 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
5–6	Vive sera pour jamais n'estre morte	1	Details
Analysis ID Analyst 27 Is Cadence? No
6–7	Vive sera pour jamais n'estre morte	2	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment HR Stagger
8–9	Vive sera pour jamais n'estre morte	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
10–11	Vive sera pour jamais n'estre morte	2	Details
Analysis ID Analyst 27 Is Cadence? No
1–6	Vive sera pour jamais n'estre morte	3	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
6–11	Vive sera pour jamais n'estre morte	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
11–12	Vive sera pour jamais n'estre morte	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger
11–14	Vive sera pour jamais n'estre morte	5	Details
Analysis ID Analyst 27 Is Cadence? No
15–15	Vive sera pour jamais n'estre morte	5	Details
Analysis ID Analyst 27 Is Cadence? No
14–16	Vive sera pour jamais n'estre morte	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Bassus Voice Role (Dux 2) Tenor Voice Role (@1 or @8) Bassus Voice Role (@5) Tenor Voice Role (Above) Tenor Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint, Stretto Fuga
18–19	Vive sera pour jamais n'estre morte	6	Details
Analysis ID Analyst 27 Is Cadence? No
19–23	Vive sera pour jamais n'estre morte	7	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied? Comments Varied from phrase 1 through a different opening rhythm and a shortened cadential phrase (in m 22).
19–23	Vive sera pour jamais n'estre morte	7	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 1 Repeat, Exact or Varied?
23–28	Vive sera pour jamais n'estre morte	8	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
23–28	Vive sera pour jamais n'estre morte	8	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 2 Repeat, Exact or Varied?
2–3	Mars et Amour font ensemble alliance	1	Details
Analysis ID Analyst 27 Is Cadence? No
4–5	Mars et Amour font ensemble alliance	1	Details
Analysis ID Analyst 27 Is Cadence? No
5–6	Mars et Amour font ensemble alliance	1	Details
Analysis ID Analyst 27 Is Cadence? No Comments Incomplete cad: S to rest, no 7>8.
6–9	Mars et Amour font ensemble alliance	2	Details
Analysis ID Analyst 27 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
7–11	Mars et Amour font ensemble alliance	2	Details
Analysis ID Analyst 27 Is Cadence? No
10–11	Mars et Amour font ensemble alliance	2	Details
Analysis ID Analyst 27 Is Cadence? No
17–22	Mars et Amour font ensemble alliance	2	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
12–17	Mars et Amour font ensemble alliance	3	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
23–23	Mars et Amour font ensemble alliance	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
23–25	Mars et Amour font ensemble alliance	5	Details
Analysis ID Analyst 27 Is Cadence? No
25–26	Mars et Amour font ensemble alliance	5	Details
Analysis ID Analyst 27 Is Cadence? No
26–29	Mars et Amour font ensemble alliance	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Bassus Voice Role (Comes 1) Tenor Voice Role (Dux 2) Superius Voice Role (@1 or @8) Superius Voice Role (@4) Tenor Voice Role (Above) Tenor Other Counterpoint Stretto Fuga
31–32	Mars et Amour font ensemble alliance	6	Details
Analysis ID Analyst 27 Is Cadence? No
31–32	Mars et Amour font ensemble alliance	6	Details
Analysis ID Analyst 27 Is Cadence? No
32–34	Mars et Amour font ensemble alliance	7	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type NIM Voice Role (Upper Voice 1 NIM) Contratenor Voice Role (Lower Voice 1 NIM) Bassus Voice Role (Upper Voice 2 NIM) Superius Voice Role (Lower Voice 2 NIM) Tenor
36–38	Mars et Amour font ensemble alliance	7	Details
Analysis ID Analyst 27 Is Cadence? No
37–38	Mars et Amour font ensemble alliance	7	Details
Analysis ID Analyst 27 Is Cadence? No
38–40	Mars et Amour font ensemble alliance	8	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type NIM Voice Role (Upper Voice 1 NIM) Bassus Voice Role (Lower Voice 1 NIM) Tenor Voice Role (Upper Voice 2 NIM) Superius Voice Role (Lower Voice 2 NIM) Contratenor
40–46	Mars et Amour font ensemble alliance	8	Details
Analysis ID Analyst 27 Is Cadence? No
45–46	Mars et Amour font ensemble alliance	8	Details
Analysis ID Analyst 27 Is Cadence? No
46–51	Mars et Amour font ensemble alliance	9	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
46–51	Mars et Amour font ensemble alliance	9	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 9 Repeat, Exact or Varied?
51–56	Mars et Amour font ensemble alliance	10	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
51–56	Mars et Amour font ensemble alliance	10	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 10 Repeat, Exact or Varied?
1–4	Si la promesse m'est tenue	1	Details
Analysis ID Analyst 27 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
3–4	Si la promesse m'est tenue	1	Details
Analysis ID Analyst 27 Is Cadence? No
4–6	Si la promesse m'est tenue	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Superius Voice Role (Dux 2) Tenor Voice Role (@4) Tenor Voice Role (Above) Superius Voice Role (Below) Tenor Other Counterpoint Invertible Counterpoint, Stretto Fuga
6–7	Si la promesse m'est tenue	2	Details
Analysis ID Analyst 27 Is Cadence? No
6–7	Si la promesse m'est tenue	2	Details
Analysis ID Analyst 27 Is Cadence? No
8–10	Si la promesse m'est tenue	3	Details
Analysis ID Analyst 27 Is Cadence? No
12–14	Si la promesse m'est tenue	3	Details
Analysis ID Analyst 27 Is Cadence? No
16–17	Si la promesse m'est tenue	4	Details
Analysis ID Analyst 27 Is Cadence? No
17–18	Si la promesse m'est tenue	4	Details
Analysis ID Analyst 27 Is Cadence? No
13–18	Si la promesse m'est tenue	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 4 Repeat, Exact or Varied?
1–3	L'autre jour jouer m'aloye/ Parmi ces champs	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger
1–3	L'autre jour jouer m'aloye/ Parmi ces champs	1	Details
Analysis ID Analyst 27 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
3–4	L'autre jour jouer m'aloye/ Parmi ces champs	1	Details
Analysis ID Analyst 27 Is Cadence? No
4–6	L'autre jour jouer m'aloye/ Parmi ces champs	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Bassus Voice Role (Comes 1) Contratenor Voice Role (Dux 2) Tenor Voice Role (@1 or @8) Tenor Voice Role (@5) Contratenor Voice Role (Above) Contratenor Voice Role (Below) Tenor Other Counterpoint Stretto Fuga
6–7	L'autre jour jouer m'aloye/ Parmi ces champs	2	Details
Analysis ID Analyst 27 Is Cadence? No
8–10	L'autre jour jouer m'aloye/ Parmi ces champs	3	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
9–10	L'autre jour jouer m'aloye/ Parmi ces champs	3	Details
Analysis ID Analyst 27 Is Cadence? No
10–10	L'autre jour jouer m'aloye/ Parmi ces champs	4	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Overlap
10–13	L'autre jour jouer m'aloye/ Parmi ces champs	4	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
14–17	L'autre jour jouer m'aloye/ Parmi ces champs	5	Details
Analysis ID Analyst 27 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
18–22	L'autre jour jouer m'aloye/ Parmi ces champs	5	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 5 Repeat, Exact or Varied? Comments Slightly varied repeat of mm 14-17 of phrase 5.
17–18	L'autre jour jouer m'aloye/ Parmi ces champs	5	Details
Analysis ID Analyst 27 Is Cadence? No
1–6	Comme l'aymant par sa vertu latente	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Bassus Voice Role (Comes 1) Contratenor Voice Role (Dux 2) Superius Voice Role (Comes 2) Tenor Voice Role (@1 or @8) Tenor Voice Role (@5) Contratenor Voice Role (Above) Superius Voice Role (Below) Tenor
7–8	Comme l'aymant par sa vertu latente	1	Details
Analysis ID Analyst 27 Is Cadence? No
8–14	Comme l'aymant par sa vertu latente	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Bassus Voice Role (Comes 1) Contratenor Voice Role (Dux 2) Superius Voice Role (Comes 2) Tenor Voice Role (@1 or @8) Tenor Voice Role (@5) Contratenor Voice Role (Above) Superius Voice Role (Below) Tenor
14–15	Comme l'aymant par sa vertu latente	2	Details
Analysis ID Analyst 27 Is Cadence? No
17–21	Comme l'aymant par sa vertu latente	3	Details
Analysis ID Analyst 27 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
17–19	Comme l'aymant par sa vertu latente	3	Details
Analysis ID Analyst 27 Is Cadence? No
19–22	Comme l'aymant par sa vertu latente	3	Details
Analysis ID Analyst 27 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 Comments FI in T>B is the NIM motive from mm 17-21.
21–22	Comme l'aymant par sa vertu latente	3	Details
Analysis ID Analyst 27 Is Cadence? No
22–28	Comme l'aymant par sa vertu latente	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 3 Repeat, Exact or Varied? Comments The first 3 mm are substantially varied from phrase 3.
27–28	Comme l'aymant par sa vertu latente	4	Details
Analysis ID Analyst 27 Is Cadence? No
28–24	Comme l'aymant par sa vertu latente	5	Details
Analysis ID Analyst 27 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 (Above) Superius Comments PEn: may also continue into another >T, as T has the full version of the PEn motive (which does not occur in the first T iteration) after Ct>B>T>S has already occurred.
31–34	Comme l'aymant par sa vertu latente	5	Details
Analysis ID Analyst 27 Is Cadence? No
36–43	Comme l'aymant par sa vertu latente	5	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 5 Repeat, Exact or Varied? Comments Repetition of mm 28-35, with a varied opening for 1st 2 mm.
35–36	Comme l'aymant par sa vertu latente	5	Details
Analysis ID Analyst 27 Is Cadence? No
1–3	Helas mon cœur (mon œil), n'as tu pas trop grand tort	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
10–11	Helas mon cœur (mon œil), n'as tu pas trop grand tort	2	Details
Analysis ID Analyst 27 Is Cadence? No
11–12	Helas mon cœur (mon œil), n'as tu pas trop grand tort	2	Details
Analysis ID Analyst 27 Is Cadence? No
12–15	Helas mon cœur (mon œil), n'as tu pas trop grand tort	3	Details
Analysis ID Analyst 27 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 (Comes 2) Tenor Voice Role (@4) Superius Voice Role (Above) Superius Other Counterpoint Stretto Fuga
15–16	Helas mon cœur (mon œil), n'as tu pas trop grand tort	3	Details
Analysis ID Analyst 27 Is Cadence? No
15–16	Helas mon cœur (mon œil), n'as tu pas trop grand tort	3	Details
Analysis ID Analyst 27 Is Cadence? No
17–21	Helas mon cœur (mon œil), n'as tu pas trop grand tort	4	Details
Analysis ID Analyst 27 Is Cadence? No
20–21	Helas mon cœur (mon œil), n'as tu pas trop grand tort	4	Details
Analysis ID Analyst 27 Is Cadence? No
21–23	Helas mon cœur (mon œil), n'as tu pas trop grand tort	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
23–25	Helas mon cœur (mon œil), n'as tu pas trop grand tort	5	Details
Analysis ID Analyst 27 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 Voice Role (@1 or @8) Superius Voice Role (Above) Superius Other Counterpoint Invertible Counterpoint, Stretto Fuga
25–26	Helas mon cœur (mon œil), n'as tu pas trop grand tort	5	Details
Analysis ID Analyst 27 Is Cadence? No
25–28	Helas mon cœur (mon œil), n'as tu pas trop grand tort	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Tenor Voice Role (Dux 2) Superius Voice Role (Comes 2) Bassus Voice Role (@1 or @8) Tenor Voice Role (Below) Tenor Other Counterpoint Stretto Fuga, Invertible Counterpoint Comments There is a 5th PEn entry in Ct @ 8 above.
31–32	Helas mon cœur (mon œil), n'as tu pas trop grand tort	6	Details
Analysis ID Analyst 27 Is Cadence? No
36–37	Helas mon cœur (mon œil), n'as tu pas trop grand tort	7	Details
Analysis ID Analyst 27 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
37–38	Helas mon cœur (mon œil), n'as tu pas trop grand tort	7	Details
Analysis ID Analyst 27 Is Cadence? No
38–39	Helas mon cœur (mon œil), n'as tu pas trop grand tort	7	Details
Analysis ID Analyst 27 Is Cadence? No Comments Incomplete cad: Ct to rest, no 2>1.
39–40	Helas mon cœur (mon œil), n'as tu pas trop grand tort	8	Details
Analysis ID Analyst 27 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
41–43	Helas mon cœur (mon œil), n'as tu pas trop grand tort	8	Details
Analysis ID Analyst 27 Is Cadence? No
43–44	Helas mon cœur (mon œil), n'as tu pas trop grand tort	8	Details
Analysis ID Analyst 27 Is Cadence? No
1–3	Trop justement je forme une complainte	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
3–6	Trop justement je forme une complainte	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Tenor Voice Role (Comes 1) Superius Voice Role (Dux 2) Bassus Voice Role (@1 or @8) Superius Voice Role (Above) Superius Other Counterpoint Stretto Fuga
6–8	Trop justement je forme une complainte	1	Details
Analysis ID Analyst 27 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
5–6	Trop justement je forme une complainte	1	Details
Analysis ID Analyst 27 Is Cadence? No
7–8	Trop justement je forme une complainte	1	Details
Analysis ID Analyst 27 Is Cadence? No
8–12	Trop justement je forme une complainte	2	Details
Analysis ID Analyst 27 Is Cadence? No
11–12	Trop justement je forme une complainte	2	Details
Analysis ID Analyst 27 Is Cadence? No
1–8	Trop justement je forme une complainte	3	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
8–12	Trop justement je forme une complainte	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
13–15	Trop justement je forme une complainte	5	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Representation Comments Voices all sustain a rhetorical "O" at m 13.
17–19	Trop justement je forme une complainte	5	Details
Analysis ID Analyst 27 Is Cadence? No
18–19	Trop justement je forme une complainte	6	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Overlap
20–21	Trop justement je forme une complainte	6	Details
Analysis ID Analyst 27 Is Cadence? No
22–22	Trop justement je forme une complainte	6	Details
Analysis ID Analyst 27 Is Cadence? No
24–29	Trop justement je forme une complainte	7	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dance
28–29	Trop justement je forme une complainte	7	Details
Analysis ID Analyst 27 Is Cadence? No
29–33	Trop justement je forme une complainte	8	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type ID Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Bassus Voice Role (Dux 2) Superius Voice Role (Comes 2) Bassus Text Treatment Text Representation Comments Second pair in ID 'inverts' bassus as representation of 'au rebours'
35–37	Trop justement je forme une complainte	9	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
40–42	Trop justement je forme une complainte	10	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Superius Voice Role (Comes 1) Contratenor Voice Role (Dux 2) Tenor Voice Role (@4) Contratenor Voice Role (Below) Contratenor Other Counterpoint Stretto Fuga
42–44	Trop justement je forme une complainte	10	Details
Analysis ID Analyst 27 Is Cadence? No
44–45	Trop justement je forme une complainte	10	Details
Analysis ID Analyst 27 Is Cadence? No
40–45	Trop justement je forme une complainte	10	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 10 Repeat, Exact or Varied?
2–6	Quelle prison au monde est plus cruelle	1	Details
Analysis ID Analyst 27 Is Cadence? No
3–6	Quelle prison au monde est plus cruelle	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
5–6	Quelle prison au monde est plus cruelle	1	Details
Analysis ID Analyst 27 Is Cadence? No
6–9	Quelle prison au monde est plus cruelle	2	Details
Analysis ID Analyst 27 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
6–10	Quelle prison au monde est plus cruelle	2	Details
Analysis ID Analyst 27 Is Cadence? No
9–10	Quelle prison au monde est plus cruelle	2	Details
Analysis ID Analyst 27 Is Cadence? No
1–6	Quelle prison au monde est plus cruelle	3	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
6–10	Quelle prison au monde est plus cruelle	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
11–15	Quelle prison au monde est plus cruelle	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
11–13	Quelle prison au monde est plus cruelle	5	Details
Analysis ID Analyst 27 Is Cadence? No
13–15	Quelle prison au monde est plus cruelle	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Formulas Romanesca
16–17	Quelle prison au monde est plus cruelle	5	Details
Analysis ID Analyst 27 Is Cadence? No
17–20	Quelle prison au monde est plus cruelle	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Superius Voice Role (Dux 2) Tenor Voice Role (@4) Superius Voice Role (Above) Superius Voice Role (Below) Bassus Other Counterpoint Stretto Fuga
20–21	Quelle prison au monde est plus cruelle	6	Details
Analysis ID Analyst 27 Is Cadence? No
21–21	Quelle prison au monde est plus cruelle	7	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause Comments All voices pause before returning to musical material from opening (i.e. phrases 1-2).
22–27	Quelle prison au monde est plus cruelle	7	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
21–27	Quelle prison au monde est plus cruelle	7	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 7 Repeat, Exact or Varied?
27–32	Quelle prison au monde est plus cruelle	8	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
27–32	Quelle prison au monde est plus cruelle	8	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied?
1–2	Maistre Ambrelin, confesseur de nonettes	1	Details
Analysis ID Analyst 27 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 (Below) Bassus Other Counterpoint Stretto Fuga
1–3	Maistre Ambrelin, confesseur de nonettes	1	Details
Analysis ID Analyst 27 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
2–4	Maistre Ambrelin, confesseur de nonettes	1	Details
Analysis ID Analyst 27 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
4–4	Maistre Ambrelin, confesseur de nonettes	1	Details
Analysis ID Analyst 27 Is Cadence? No
4–5	Maistre Ambrelin, confesseur de nonettes	2	Details
Analysis ID Analyst 27 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
6–8	Maistre Ambrelin, confesseur de nonettes	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Formulas Romanesca
7–8	Maistre Ambrelin, confesseur de nonettes	2	Details
Analysis ID Analyst 27 Is Cadence? No
8–12	Maistre Ambrelin, confesseur de nonettes	3	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
12–15	Maistre Ambrelin, confesseur de nonettes	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
16–19	Maistre Ambrelin, confesseur de nonettes	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
18–19	Maistre Ambrelin, confesseur de nonettes	5	Details
Analysis ID Analyst 27 Is Cadence? No
19–21	Maistre Ambrelin, confesseur de nonettes	6	Details
Analysis ID Analyst 27 Is Cadence? No
20–21	Maistre Ambrelin, confesseur de nonettes	6	Details
Analysis ID Analyst 27 Is Cadence? No
21–21	Maistre Ambrelin, confesseur de nonettes	6	Details
Analysis ID Analyst 27 Is Cadence? No
22–23	Maistre Ambrelin, confesseur de nonettes	7	Details
Analysis ID Analyst 27 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 Text Treatment Text Representation Comments Text representation: all voices have a repeated rising motive for the question "comment"?
26–26	Maistre Ambrelin, confesseur de nonettes	7	Details
Analysis ID Analyst 27 Is Cadence? No
27–29	Maistre Ambrelin, confesseur de nonettes	8	Details
Analysis ID Analyst 27 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
29–30	Maistre Ambrelin, confesseur de nonettes	8	Details
Analysis ID Analyst 27 Is Cadence? No
31–32	Maistre Ambrelin, confesseur de nonettes	9	Details
Analysis ID Analyst 27 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
32–33	Maistre Ambrelin, confesseur de nonettes	9	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
31–34	Maistre Ambrelin, confesseur de nonettes	9	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 9 Repeat, Exact or Varied?
35–37	Maistre Ambrelin, confesseur de nonettes	10	Details
Analysis ID Analyst 27 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 Comments FI is the NIM motive from mm 34-37.
38–39	Maistre Ambrelin, confesseur de nonettes	10	Details
Analysis ID Analyst 27 Is Cadence? No
38–39	Maistre Ambrelin, confesseur de nonettes	10	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 10 Repeat, Exact or Varied?
1–4	Qu'est-ce que fait celui qui se marie	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Bassus Voice Role (Comes 1) Tenor Voice Role (Dux 2) Superius Voice Role (@5) Tenor Voice Role (Above) Tenor
5–6	Qu'est-ce que fait celui qui se marie	1	Details
Analysis ID Analyst 27 Is Cadence? No
6–7	Qu'est-ce que fait celui qui se marie	2	Details
Analysis ID Analyst 27 Is Cadence? No
9–12	Qu'est-ce que fait celui qui se marie	3	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Bassus Voice Role (Comes 1) Tenor Voice Role (Dux 2) Superius Voice Role (@1 or @8) Superius Voice Role (@5) Tenor Voice Role (Above) Tenor Other Counterpoint Stretto Fuga
9–12	Qu'est-ce que fait celui qui se marie	3	Details
Analysis ID Analyst 27 Is Cadence? No
13–14	Qu'est-ce que fait celui qui se marie	3	Details
Analysis ID Analyst 27 Is Cadence? No
16–17	Qu'est-ce que fait celui qui se marie	4	Details
Analysis ID Analyst 27 Is Cadence? No
18–18	Qu'est-ce que fait celui qui se marie	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
18–21	Qu'est-ce que fait celui qui se marie	5	Details
Analysis ID Analyst 27 Is Cadence? No
18–19	Qu'est-ce que fait celui qui se marie	5	Details
Analysis ID Analyst 27 Is Cadence? No
20–21	Qu'est-ce que fait celui qui se marie	5	Details
Analysis ID Analyst 27 Is Cadence? No
21–22	Qu'est-ce que fait celui qui se marie	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Tenor Voice Role (Comes 1) Bassus Voice Role (Dux 2) Superius Voice Role (@1 or @8) Superius Voice Role (Above) Superius Other Counterpoint Stretto Fuga, Invertible Counterpoint Text Treatment Text Representation Comments Text representation: "Caqueter" is in an onomatopoeic presentations, with leapy quarter notes chattering across all of the lower 3 voices (mm 22-23).
24–25	Qu'est-ce que fait celui qui se marie	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
22–23	Qu'est-ce que fait celui qui se marie	6	Details
Analysis ID Analyst 27 Is Cadence? No
24–25	Qu'est-ce que fait celui qui se marie	6	Details
Analysis ID Analyst 27 Is Cadence? No
25–29	Qu'est-ce que fait celui qui se marie	7	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 6 Repeat, Exact or Varied?
29–31	Qu'est-ce que fait celui qui se marie	8	Details
Analysis ID Analyst 27 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 Voice Role (@1 or @8) Superius Voice Role (Above) Superius Other Counterpoint Invertible Counterpoint, Stretto Fuga
32–32	Qu'est-ce que fait celui qui se marie	9	Details
Analysis ID Analyst 27 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
33–34	Qu'est-ce que fait celui qui se marie	9	Details
Analysis ID Analyst 27 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
35–35	Qu'est-ce que fait celui qui se marie	9	Details
Analysis ID Analyst 27 Is Cadence? No
36–41	Qu'est-ce que fait celui qui se marie	10	Details
Analysis ID Analyst 27 Is Cadence? No
41–44	Qu'est-ce que fait celui qui se marie	10	Details
Analysis ID Analyst 27 Is Cadence? No
40–41	Qu'est-ce que fait celui qui se marie	10	Details
Analysis ID Analyst 27 Is Cadence? No
1–3	Vrais amateurs du plaisir de Vénus	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
3–5	Vrais amateurs du plaisir de Vénus	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type NIM Voice Role (Upper Voice 1 NIM) Superius Voice Role (Lower Voice 1 NIM) Contratenor Voice Role (Upper Voice 2 NIM) Tenor Voice Role (Lower Voice 2 NIM) Bassus Voice Role (@1 or @8) Tenor Voice Role (Below) Tenor Other Counterpoint Stretto Fuga
5–6	Vrais amateurs du plaisir de Vénus	1	Details
Analysis ID Analyst 27 Is Cadence? No
9–11	Vrais amateurs du plaisir de Vénus	2	Details
Analysis ID Analyst 27 Is Cadence? No
10–11	Vrais amateurs du plaisir de Vénus	2	Details
Analysis ID Analyst 27 Is Cadence? No
1–6	Vrais amateurs du plaisir de Vénus	3	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
6–11	Vrais amateurs du plaisir de Vénus	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
12–14	Vrais amateurs du plaisir de Vénus	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger
15–16	Vrais amateurs du plaisir de Vénus	5	Details
Analysis ID Analyst 27 Is Cadence? No
16–17	Vrais amateurs du plaisir de Vénus	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
16–18	Vrais amateurs du plaisir de Vénus	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Formulas Romanesca
19–21	Vrais amateurs du plaisir de Vénus	7	Details
Analysis ID Analyst 27 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
24–25	Vrais amateurs du plaisir de Vénus	7	Details
Analysis ID Analyst 27 Is Cadence? No
26–30	Vrais amateurs du plaisir de Vénus	8	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dance
29–30	Vrais amateurs du plaisir de Vénus	8	Details
Analysis ID Analyst 27 Is Cadence? No
26–30	Vrais amateurs du plaisir de Vénus	8	Details
Analysis ID Analyst 27 Is Cadence? No Earlier Phrase 8 Repeat, Exact or Varied?
30–33	Vrais amateurs du plaisir de Vénus	9	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger
30–35	Vrais amateurs du plaisir de Vénus	9	Details
Analysis ID Analyst 27 Is Cadence? No
34–35	Vrais amateurs du plaisir de Vénus	9	Details
Analysis ID Analyst 27 Is Cadence? No
30–35	Vrais amateurs du plaisir de Vénus	9	Details
Analysis ID Analyst 27 Is Cadence? No Earlier Phrase 9 Repeat, Exact or Varied?
35–38	Vrais amateurs du plaisir de Vénus	10	Details
Analysis ID Analyst 27 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
37–39	Vrais amateurs du plaisir de Vénus	10	Details
Analysis ID Analyst 27 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
40–42	Vrais amateurs du plaisir de Vénus	10	Details
Analysis ID Analyst 27 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
41–42	Vrais amateurs du plaisir de Vénus	10	Details
Analysis ID Analyst 27 Is Cadence? No
35–42	Vrais amateurs du plaisir de Vénus	10	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 10 Repeat, Exact or Varied?
2–5	J'ay d'un costé l'honneur tant estimé	1	Details
Analysis ID Analyst 27 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
5–6	J'ay d'un costé l'honneur tant estimé	1	Details
Analysis ID Analyst 27 Is Cadence? No
6–8	J'ay d'un costé l'honneur tant estimé	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Bassus Voice Role (Comes 1) Tenor Voice Role (Dux 2) Superius Voice Role (@1 or @8) Tenor Voice Role (Above) Tenor Other Counterpoint Stretto Fuga
12–13	J'ay d'un costé l'honneur tant estimé	2	Details
Analysis ID Analyst 27 Is Cadence? No
1–6	J'ay d'un costé l'honneur tant estimé	3	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
6–13	J'ay d'un costé l'honneur tant estimé	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
14–16	J'ay d'un costé l'honneur tant estimé	5	Details
Analysis ID Analyst 27 Is Cadence? No
16–17	J'ay d'un costé l'honneur tant estimé	5	Details
Analysis ID Analyst 27 Is Cadence? No
22–24	J'ay d'un costé l'honneur tant estimé	7	Details
Analysis ID Analyst 27 Is Cadence? No Other Formulas Romanesca
25–26	J'ay d'un costé l'honneur tant estimé	7	Details
Analysis ID Analyst 27 Is Cadence? No
26–27	J'ay d'un costé l'honneur tant estimé	7	Details
Analysis ID Analyst 27 Is Cadence? No
22–22	J'ay d'un costé l'honneur tant estimé	7	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Representation Comments Text representation: With "las" (helas) there is a shift to Eflat in both Ct and B, with a parallel semitone movement from D to Eflat.
27–29	J'ay d'un costé l'honneur tant estimé	8	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger
27–32	J'ay d'un costé l'honneur tant estimé	8	Details
Analysis ID Analyst 27 Is Cadence? No
31–32	J'ay d'un costé l'honneur tant estimé	8	Details
Analysis ID Analyst 27 Is Cadence? No
32–32	J'ay d'un costé l'honneur tant estimé	9	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause Comments All voices pause before returning to musical material from opening (i.e. phrases 1-2).
32–38	J'ay d'un costé l'honneur tant estimé	9	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 9 Repeat, Exact or Varied? Comments Varied opening rhythm.
38–45	J'ay d'un costé l'honneur tant estimé	10	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 10 Repeat, Exact or Varied? Comments Varied opening rhythm.
1–4	Si je me plains ce n'est sans apparence	1	Details
Analysis ID Analyst 27 Is Cadence? No
5–9	Si je me plains ce n'est sans apparence	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type NIM Voice Role (Upper Voice 1 NIM) Superius Voice Role (Lower Voice 1 NIM) Contratenor Voice Role (Upper Voice 2 NIM) Tenor Voice Role (Lower Voice 2 NIM) Bassus Voice Role (@1 or @8) Tenor Voice Role (Below) Tenor Other Counterpoint Stretto Fuga
6–10	Si je me plains ce n'est sans apparence	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Formulas Romanesca
9–10	Si je me plains ce n'est sans apparence	2	Details
Analysis ID Analyst 27 Is Cadence? No
1–4	Si je me plains ce n'est sans apparence	3	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
5–11	Si je me plains ce n'est sans apparence	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
11–14	Si je me plains ce n'est sans apparence	5	Details
Analysis ID Analyst 27 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
13–14	Si je me plains ce n'est sans apparence	5	Details
Analysis ID Analyst 27 Is Cadence? No
15–16	Si je me plains ce n'est sans apparence	5	Details
Analysis ID Analyst 27 Is Cadence? No
16–19	Si je me plains ce n'est sans apparence	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
18–19	Si je me plains ce n'est sans apparence	6	Details
Analysis ID Analyst 27 Is Cadence? No
23–24	Si je me plains ce n'est sans apparence	6	Details
Analysis ID Analyst 27 Is Cadence? No
18–19	Si je me plains ce n'est sans apparence	6	Details
Analysis ID Analyst 27 Is Cadence? No
19–21	Si je me plains ce n'est sans apparence	7	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger
19–24	Si je me plains ce n'est sans apparence	7	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 7 Repeat, Exact or Varied?
23–26	Si je me plains ce n'est sans apparence	8	Details
Analysis ID Analyst 27 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
26–30	Si je me plains ce n'est sans apparence	8	Details
Analysis ID Analyst 27 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) Tenor Voice Role (Below) Tenor Other Counterpoint Stretto Fuga
31–32	Si je me plains ce n'est sans apparence	8	Details
Analysis ID Analyst 27 Is Cadence? No
23–32	Si je me plains ce n'est sans apparence	8	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied?
1–4	Mauldict soit-il qui jamays aymera	1	Details
Analysis ID Analyst 27 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 Voice Role (@4) Superius Voice Role (Above) Superius
4–5	Mauldict soit-il qui jamays aymera	1	Details
Analysis ID Analyst 27 Is Cadence? No
5–7	Mauldict soit-il qui jamays aymera	2	Details
Analysis ID Analyst 27 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 Overlap Comments Text overlap (m 5).
11–12	Mauldict soit-il qui jamays aymera	2	Details
Analysis ID Analyst 27 Is Cadence? No
1–5	Mauldict soit-il qui jamays aymera	3	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
5–12	Mauldict soit-il qui jamays aymera	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
13–16	Mauldict soit-il qui jamays aymera	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger
14–15	Mauldict soit-il qui jamays aymera	5	Details
Analysis ID Analyst 27 Is Cadence? No
16–16	Mauldict soit-il qui jamays aymera	5	Details
Analysis ID Analyst 27 Is Cadence? No
15–16	Mauldict soit-il qui jamays aymera	5	Details
Analysis ID Analyst 27 Is Cadence? No
16–18	Mauldict soit-il qui jamays aymera	6	Details
Analysis ID Analyst 27 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
19–20	Mauldict soit-il qui jamays aymera	6	Details
Analysis ID Analyst 27 Is Cadence? No
20–21	Mauldict soit-il qui jamays aymera	6	Details
Analysis ID Analyst 27 Is Cadence? No Comments Evaded cad: S to E, no 2>1.
19–21	Mauldict soit-il qui jamays aymera	7	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger
24–25	Mauldict soit-il qui jamays aymera	7	Details
Analysis ID Analyst 27 Is Cadence? No
24–25	Mauldict soit-il qui jamays aymera	7	Details
Analysis ID Analyst 27 Is Cadence? No
26–29	Mauldict soit-il qui jamays aymera	8	Details
Analysis ID Analyst 27 Is Cadence? No
28–29	Mauldict soit-il qui jamays aymera	8	Details
Analysis ID Analyst 27 Is Cadence? No
30–30	Mauldict soit-il qui jamays aymera	9	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause
30–34	Mauldict soit-il qui jamays aymera	9	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
33–33	Mauldict soit-il qui jamays aymera	9	Details
Analysis ID Analyst 27 Is Cadence? No
34–36	Mauldict soit-il qui jamays aymera	10	Details
Analysis ID Analyst 27 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 (@1 or @8) Contratenor Voice Role (Above) Contratenor
38–42	Mauldict soit-il qui jamays aymera	10	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type FI Voice Role (Comes 1) Tenor Voice Role (Dux 2) Superius Voice Role (@1 or @8) Superius Voice Role (Above) Superius
42–43	Mauldict soit-il qui jamays aymera	10	Details
Analysis ID Analyst 27 Is Cadence? No
34–43	Mauldict soit-il qui jamays aymera	10	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 10 Repeat, Exact or Varied?
1–5	Amour et mort par trop grand avantage	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
4–5	Amour et mort par trop grand avantage	1	Details
Analysis ID Analyst 27 Is Cadence? No
5–7	Amour et mort par trop grand avantage	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple Text Treatment Text Representation Comments Text representation: with "cruelle" there is a shift to Eflat in both Ct and B (m 7).
5–9	Amour et mort par trop grand avantage	2	Details
Analysis ID Analyst 27 Is Cadence? No
8–9	Amour et mort par trop grand avantage	2	Details
Analysis ID Analyst 27 Is Cadence? No
1–5	Amour et mort par trop grand avantage	3	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
5–9	Amour et mort par trop grand avantage	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
10–10	Amour et mort par trop grand avantage	5	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause Comments All voices pause before moving onto new musical material (i.e. after phrases 1-2, which are repeated for 3-4).
12–16	Amour et mort par trop grand avantage	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Superius Voice Role (Comes 1) Tenor Voice Role (@1 or @8) Tenor Voice Role (Below) Tenor
14–17	Amour et mort par trop grand avantage	5	Details
Analysis ID Analyst 27 Is Cadence? No Comments B has FI motive (from mm 12-16).
16–17	Amour et mort par trop grand avantage	5	Details
Analysis ID Analyst 27 Is Cadence? No
16–20	Amour et mort par trop grand avantage	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type NIM Voice Role (Upper Voice 1 NIM) Tenor Voice Role (Lower Voice 1 NIM) Superius Voice Role (Upper Voice 2 NIM) Contratenor Voice Role (Lower Voice 2 NIM) Bassus Voice Role (@1 or @8) Contratenor Voice Role (Below) Contratenor
21–22	Amour et mort par trop grand avantage	6	Details
Analysis ID Analyst 27 Is Cadence? No
21–24	Amour et mort par trop grand avantage	7	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Superius Voice Role (Comes 1) Bassus Voice Role (Dux 2) Contratenor Voice Role (@5) Bassus Voice Role (Below) Bassus Other Counterpoint Stretto Fuga
24–25	Amour et mort par trop grand avantage	7	Details
Analysis ID Analyst 27 Is Cadence? No Comments PEn motive in T (from mm 21-24).
26–27	Amour et mort par trop grand avantage	7	Details
Analysis ID Analyst 27 Is Cadence? No
26–30	Amour et mort par trop grand avantage	8	Details
Analysis ID Analyst 27 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
31–34	Amour et mort par trop grand avantage	8	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Superius Voice Role (Comes 1) Bassus Voice Role (@5) Bassus Voice Role (Below) Bassus
33–34	Amour et mort par trop grand avantage	8	Details
Analysis ID Analyst 27 Is Cadence? No
34–34	Amour et mort par trop grand avantage	9	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause
34–35	Amour et mort par trop grand avantage	9	Details
Analysis ID Analyst 27 Is Cadence? No
36–38	Amour et mort par trop grand avantage	9	Details
Analysis ID Analyst 27 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 Other Counterpoint Stretto Fuga
38–39	Amour et mort par trop grand avantage	9	Details
Analysis ID Analyst 27 Is Cadence? No
41–43	Amour et mort par trop grand avantage	10	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
39–43	Amour et mort par trop grand avantage	10	Details
Analysis ID Analyst 27 Is Cadence? No Other Formulas Romanesca
42–43	Amour et mort par trop grand avantage	10	Details
Analysis ID Analyst 27 Is Cadence? No
44–45	Amour et mort par trop grand avantage	11	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
44–47	Amour et mort par trop grand avantage	11	Details
Analysis ID Analyst 27 Is Cadence? No
46–47	Amour et mort par trop grand avantage	11	Details
Analysis ID Analyst 27 Is Cadence? No
47–47	Amour et mort par trop grand avantage	12	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause
51–52	Amour et mort par trop grand avantage	12	Details
Analysis ID Analyst 27 Is Cadence? No
53–59	Amour et mort par trop grand avantage	12	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 12 Repeat, Exact or Varied?
58–59	Amour et mort par trop grand avantage	12	Details
Analysis ID Analyst 27 Is Cadence? No
1–3	Puisque fortune mal apprinse	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type ID Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Tenor Voice Role (Dux 2) Superius Voice Role (Comes 2) Bassus Voice Role (@5) Tenor Voice Role (Below) Tenor
1–3	Puisque fortune mal apprinse	1	Details
Analysis ID Analyst 27 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
4–5	Puisque fortune mal apprinse	1	Details
Analysis ID Analyst 27 Is Cadence? No
5–6	Puisque fortune mal apprinse	1	Details
Analysis ID Analyst 27 Is Cadence? No
7–7	Puisque fortune mal apprinse	2	Details
Analysis ID Analyst 27 Is Cadence? No
8–9	Puisque fortune mal apprinse	2	Details
Analysis ID Analyst 27 Is Cadence? No
1–6	Puisque fortune mal apprinse	3	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
5–9	Puisque fortune mal apprinse	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
10–13	Puisque fortune mal apprinse	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger
6–7	Puisque fortune mal apprinse	6	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Overlap
13–13	Puisque fortune mal apprinse	8	Details
Analysis ID Analyst 27 Is Cadence? No Comments Ct E-D-F, no direct 7>8. AVoids tritone with Tenor.
14–16	Puisque fortune mal apprinse	7	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Superius Voice Role (Comes 1) Bassus Voice Role (Dux 2) Contratenor Voice Role (@5) Bassus Voice Role (Below) Bassus Other Counterpoint Stretto Fuga
17–18	Puisque fortune mal apprinse	7	Details
Analysis ID Analyst 27 Is Cadence? No
14–16	Puisque fortune mal apprinse	8	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Overlap
18–21	Puisque fortune mal apprinse	9	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type NIM Voice Role (Upper Voice 1 NIM) Contratenor Voice Role (Lower Voice 1 NIM) Superius Voice Role (Upper Voice 2 NIM) Bassus Voice Role (Lower Voice 2 NIM) Tenor
21–23	Puisque fortune mal apprinse	9	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type ID Voice Role (Dux 1) Tenor Voice Role (Comes 1) Bassus Voice Role (Dux 2) Contratenor Voice Role (Comes 2) Superius Voice Role (@5) Bassus Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint
25–26	Puisque fortune mal apprinse	9	Details
Analysis ID Analyst 27 Is Cadence? No
26–27	Puisque fortune mal apprinse	9	Details
Analysis ID Analyst 27 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
23–25	Puisque fortune mal apprinse	9	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Bassus Voice Role (Comes 1) Tenor Voice Role (Dux 2) Contratenor Voice Role (Comes 2) Superius Voice Role (@5) Tenor Voice Role (Above) Tenor Comments Also PEn stacked.
27–29	Puisque fortune mal apprinse	9	Details
Analysis ID Analyst 27 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
28–29	Puisque fortune mal apprinse	9	Details
Analysis ID Analyst 27 Is Cadence? No
29–34	Puisque fortune mal apprinse	9	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Representation Repeat Kind Final Repeat Earlier Phrase 9 Repeat, Exact or Varied? Comments Text representation: repeat of the phrase "vous serez trop" in pattering throughout all voices for both iterations of phrase 9.
1–1	Je sens l'affection/ Qui à moy se vient rendre	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
1–3	Je sens l'affection/ Qui à moy se vient rendre	1	Details
Analysis ID Analyst 27 Is Cadence? No
4–6	Je sens l'affection/ Qui à moy se vient rendre	1	Details
Analysis ID Analyst 27 Is Cadence? No
5–6	Je sens l'affection/ Qui à moy se vient rendre	1	Details
Analysis ID Analyst 27 Is Cadence? No
1–6	Je sens l'affection/ Qui à moy se vient rendre	2	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
7–7	Je sens l'affection/ Qui à moy se vient rendre	3	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
8–10	Je sens l'affection/ Qui à moy se vient rendre	3	Details
Analysis ID Analyst 27 Is Cadence? No
9–10	Je sens l'affection/ Qui à moy se vient rendre	3	Details
Analysis ID Analyst 27 Is Cadence? No
11–11	Je sens l'affection/ Qui à moy se vient rendre	4	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
11–12	Je sens l'affection/ Qui à moy se vient rendre	4	Details
Analysis ID Analyst 27 Is Cadence? No
15–16	Je sens l'affection/ Qui à moy se vient rendre	4	Details
Analysis ID Analyst 27 Is Cadence? No
17–22	Je sens l'affection/ Qui à moy se vient rendre	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dance
17–18	Je sens l'affection/ Qui à moy se vient rendre	5	Details
Analysis ID Analyst 27 Is Cadence? No
19–22	Je sens l'affection/ Qui à moy se vient rendre	5	Details
Analysis ID Analyst 27 Is Cadence? No
22–23	Je sens l'affection/ Qui à moy se vient rendre	5	Details
Analysis ID Analyst 27 Is Cadence? No Comments Doubtful cadence: T to G-E-G, no 7>8.
23–24	Je sens l'affection/ Qui à moy se vient rendre	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
23–23	Je sens l'affection/ Qui à moy se vient rendre	6	Details
Analysis ID Analyst 27 Is Cadence? No
25–25	Je sens l'affection/ Qui à moy se vient rendre	6	Details
Analysis ID Analyst 27 Is Cadence? No
24–25	Je sens l'affection/ Qui à moy se vient rendre	6	Details
Analysis ID Analyst 27 Is Cadence? No
26–27	Je sens l'affection/ Qui à moy se vient rendre	6	Details
Analysis ID Analyst 27 Is Cadence? No
28–32	Je sens l'affection/ Qui à moy se vient rendre	7	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
28–32	Je sens l'affection/ Qui à moy se vient rendre	8	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
34–38	Je sens l'affection/ Qui à moy se vient rendre	9	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 3 Repeat, Exact or Varied?
38–43	Je sens l'affection/ Qui à moy se vient rendre	10	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 4 Repeat, Exact or Varied?
1–2	Si ton plus grand plaisir n'est sinon d'estre tienne	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dance
3–5	Si ton plus grand plaisir n'est sinon d'estre tienne	1	Details
Analysis ID Analyst 27 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
6–7	Si ton plus grand plaisir n'est sinon d'estre tienne	1	Details
Analysis ID Analyst 27 Is Cadence? No
7–7	Si ton plus grand plaisir n'est sinon d'estre tienne	2	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause
8–14	Si ton plus grand plaisir n'est sinon d'estre tienne	2	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
15–19	Si ton plus grand plaisir n'est sinon d'estre tienne	3	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
17–17	Si ton plus grand plaisir n'est sinon d'estre tienne	3	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause Comments mid-phrase all voices pause.
18–19	Si ton plus grand plaisir n'est sinon d'estre tienne	3	Details
Analysis ID Analyst 27 Is Cadence? No
19–19	Si ton plus grand plaisir n'est sinon d'estre tienne	4	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause
20–26	Si ton plus grand plaisir n'est sinon d'estre tienne	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
26–26	Si ton plus grand plaisir n'est sinon d'estre tienne	5	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause
27–28	Si ton plus grand plaisir n'est sinon d'estre tienne	5	Details
Analysis ID Analyst 27 Is Cadence? No
29–32	Si ton plus grand plaisir n'est sinon d'estre tienne	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Superius Voice Role (Comes 1) Bassus Voice Role (Dux 2) Tenor Voice Role (@1 or @8) Bassus Voice Role (Below) Bassus Other Counterpoint Stretto Fuga
31–32	Si ton plus grand plaisir n'est sinon d'estre tienne	5	Details
Analysis ID Analyst 27 Is Cadence? No
32–32	Si ton plus grand plaisir n'est sinon d'estre tienne	6	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause
32–36	Si ton plus grand plaisir n'est sinon d'estre tienne	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type NIM Voice Role (Upper Voice 1 NIM) Superius Voice Role (Lower Voice 1 NIM) Bassus Voice Role (Upper Voice 2 NIM) Contratenor Voice Role (Lower Voice 2 NIM) Tenor Voice Role (@5) Contratenor Voice Role (Above) Contratenor Other Counterpoint Stretto Fuga
40–40	Si ton plus grand plaisir n'est sinon d'estre tienne	6	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause Comments mid-phrase all voices pause.
36–37	Si ton plus grand plaisir n'est sinon d'estre tienne	6	Details
Analysis ID Analyst 27 Is Cadence? No
37–37	Si ton plus grand plaisir n'est sinon d'estre tienne	7	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause
37–39	Si ton plus grand plaisir n'est sinon d'estre tienne	7	Details
Analysis ID Analyst 27 Is Cadence? No
41–42	Si ton plus grand plaisir n'est sinon d'estre tienne	7	Details
Analysis ID Analyst 27 Is Cadence? No
42–42	Si ton plus grand plaisir n'est sinon d'estre tienne	8	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause
42–48	Si ton plus grand plaisir n'est sinon d'estre tienne	8	Details
Analysis ID Analyst 27 Is Cadence? No
42–46	Si ton plus grand plaisir n'est sinon d'estre tienne	8	Details
Analysis ID Analyst 27 Is Cadence? No Other Formulas Romanesca
45–45	Si ton plus grand plaisir n'est sinon d'estre tienne	8	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause Comments mid-phrase pause in all voices.
47–48	Si ton plus grand plaisir n'est sinon d'estre tienne	8	Details
Analysis ID Analyst 27 Is Cadence? No
48–48	Si ton plus grand plaisir n'est sinon d'estre tienne	9	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause
49–55	Si ton plus grand plaisir n'est sinon d'estre tienne	9	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
55–55	Si ton plus grand plaisir n'est sinon d'estre tienne	10	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause
56–62	Si ton plus grand plaisir n'est sinon d'estre tienne	10	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
62–62	Si ton plus grand plaisir n'est sinon d'estre tienne	11	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause
63–67	Si ton plus grand plaisir n'est sinon d'estre tienne	11	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 3 Repeat, Exact or Varied?
67–67	Si ton plus grand plaisir n'est sinon d'estre tienne	12	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause
68–74	Si ton plus grand plaisir n'est sinon d'estre tienne	12	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
68–75	Si ton plus grand plaisir n'est sinon d'estre tienne	12	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 12 Repeat, Exact or Varied?
1–1	Je me veulx tant a son vouloir offrir	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
1–4	Je me veulx tant a son vouloir offrir	1	Details
Analysis ID Analyst 27 Is Cadence? No
3–4	Je me veulx tant a son vouloir offrir	1	Details
Analysis ID Analyst 27 Is Cadence? No
4–6	Je me veulx tant a son vouloir offrir	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger
4–8	Je me veulx tant a son vouloir offrir	2	Details
Analysis ID Analyst 27 Is Cadence? No
8–12	Je me veulx tant a son vouloir offrir	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Bassus Voice Role (Dux 2) Tenor Voice Role (@1 or @8) Bassus Voice Role (@5) Tenor Voice Role (Above) Tenor Voice Role (Below) Bassus Text Treatment Text Representation Comments representations of 'douleur' - particularly with a tritone between S and Ct in mm 10-11.
11–12	Je me veulx tant a son vouloir offrir	2	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Overlap Comments A complete cadence mm 11-12 is evaded with the bassus moving up to F (rather than down to A), while the text overlap from the following phrase is iterated in the bassus voice (playing up the idea of 'douleur'?).
12–14	Je me veulx tant a son vouloir offrir	3	Details
Analysis ID Analyst 27 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 (@4) Tenor Voice Role (Above) Tenor Voice Role (Below) Bassus
12–13	Je me veulx tant a son vouloir offrir	3	Details
Analysis ID Analyst 27 Is Cadence? No
16–17	Je me veulx tant a son vouloir offrir	3	Details
Analysis ID Analyst 27 Is Cadence? No
17–18	Je me veulx tant a son vouloir offrir	4	Details
Analysis ID Analyst 27 Is Cadence? No Other Formulas Romanesca
19–20	Je me veulx tant a son vouloir offrir	4	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple Other Formulas Romanesca Text Treatment Text Representation Comments Text representation: 'doulz' presented with a soft hexachord (in mm 17-20). Also, voice exchange between S and T in mm 17-18 and 19-20.
22–23	Je me veulx tant a son vouloir offrir	4	Details
Analysis ID Analyst 27 Is Cadence? No
23–30	Je me veulx tant a son vouloir offrir	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 4 Repeat, Exact or Varied?
1–4	Cupido pour ses appetitz vers des mouches alla	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
4–7	Cupido pour ses appetitz vers des mouches alla	2	Details
Analysis ID Analyst 27 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
7–9	Cupido pour ses appetitz vers des mouches alla	3	Details
Analysis ID Analyst 27 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
9–14	Cupido pour ses appetitz vers des mouches alla	4	Details
Analysis ID Analyst 27 Is Cadence? No
12–14	Cupido pour ses appetitz vers des mouches alla	4	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Representation Comments "volla" is presented particularly melismatically in T and Ct
15–16	Cupido pour ses appetitz vers des mouches alla	5	Details
Analysis ID Analyst 27 Is Cadence? No
17–19	Cupido pour ses appetitz vers des mouches alla	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR
18–19	Cupido pour ses appetitz vers des mouches alla	5	Details
Analysis ID Analyst 27 Is Cadence? No
19–20	Cupido pour ses appetitz vers des mouches alla	5	Details
Analysis ID Analyst 27 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) Contratenor Voice Role (Above) Contratenor
20–22	Cupido pour ses appetitz vers des mouches alla	6	Details
Analysis ID Analyst 27 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
22–24	Cupido pour ses appetitz vers des mouches alla	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR
24–24	Cupido pour ses appetitz vers des mouches alla	6	Details
Analysis ID Analyst 27 Is Cadence? No
25–28	Cupido pour ses appetitz vers des mouches alla	7	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
27–28	Cupido pour ses appetitz vers des mouches alla	7	Details
Analysis ID Analyst 27 Is Cadence? No
28–31	Cupido pour ses appetitz vers des mouches alla	8	Details
Analysis ID Analyst 27 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
30–31	Cupido pour ses appetitz vers des mouches alla	8	Details
Analysis ID Analyst 27 Is Cadence? No
30–31	Cupido pour ses appetitz vers des mouches alla	8	Details
Analysis ID Analyst 27 Is Cadence? No
1–3	C'est a moy qu'en veult ce coqu	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger Comments 8ves in Ct/T in m1
2–3	C'est a moy qu'en veult ce coqu	1	Details
Analysis ID Analyst 27 Is Cadence? No
3–3	C'est a moy qu'en veult ce coqu	1	Details
Analysis ID Analyst 27 Is Cadence? No
5–6	C'est a moy qu'en veult ce coqu	2	Details
Analysis ID Analyst 27 Is Cadence? No Comments CAD: no 2>1, as Ct goes to F rather than D
6–8	C'est a moy qu'en veult ce coqu	3	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied? Comments Varied repetition with rhythmic adjustments to correspond with new text.
8–11	C'est a moy qu'en veult ce coqu	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Varied repetition with a different cadence.
10–11	C'est a moy qu'en veult ce coqu	4	Details
Analysis ID Analyst 27 Is Cadence? No
11–11	C'est a moy qu'en veult ce coqu	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
11–11	C'est a moy qu'en veult ce coqu	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR
12–13	C'est a moy qu'en veult ce coqu	5	Details
Analysis ID Analyst 27 Is Cadence? No
14–16	C'est a moy qu'en veult ce coqu	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
13–14	C'est a moy qu'en veult ce coqu	6	Details
Analysis ID Analyst 27 Is Cadence? No
15–17	C'est a moy qu'en veult ce coqu	7	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 5 Repeat, Exact or Varied?
17–19	C'est a moy qu'en veult ce coqu	8	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 6 Repeat, Exact or Varied?
19–19	C'est a moy qu'en veult ce coqu	8	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Bassus Voice Role (Comes 1) Contratenor Voice Role (@1 or @8) Contratenor Voice Role (Above) Contratenor Other Counterpoint Stretto Fuga
19–21	C'est a moy qu'en veult ce coqu	8	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Fauxbourdon
19–20	C'est a moy qu'en veult ce coqu	8	Details
Analysis ID Analyst 27 Is Cadence? No
23–24	C'est a moy qu'en veult ce coqu	8	Details
Analysis ID Analyst 27 Is Cadence? No
1–3	J'ay le fruit tant désiré	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Tenor Voice Role (Comes 1) Superius Voice Role (Dux 2) Bassus Voice Role (@1 or @8) Superius Voice Role (Above) Superius
2–4	J'ay le fruit tant désiré	1	Details
Analysis ID Analyst 27 Is Cadence? No
3–4	J'ay le fruit tant désiré	1	Details
Analysis ID Analyst 27 Is Cadence? No
4–7	J'ay le fruit tant désiré	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Bassus Voice Role (Comes 1) Superius Voice Role (Dux 2) Tenor Voice Role (@1 or @8) Superius Voice Role (Above) Superius
7–8	J'ay le fruit tant désiré	2	Details
Analysis ID Analyst 27 Is Cadence? No Comments Incomplete cadence: T drops out to rest, rather than descending to G.
8–11	J'ay le fruit tant désiré	3	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied? Comments Varied repeat: rhythm altered slightly to fit new text.
11–15	J'ay le fruit tant désiré	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Varied repeat: different cadence.
13–15	J'ay le fruit tant désiré	4	Details
Analysis ID Analyst 27 Is Cadence? No
16–18	J'ay le fruit tant désiré	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dance
17–18	J'ay le fruit tant désiré	5	Details
Analysis ID Analyst 27 Is Cadence? No
19–21	J'ay le fruit tant désiré	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dance
20–21	J'ay le fruit tant désiré	6	Details
Analysis ID Analyst 27 Is Cadence? No
19–21	J'ay le fruit tant désiré	6	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Representation Comments Text representation of 'augmenter' with a shift (starting in phrase 6) to triple meter, and a hemiola on 'augmenter.'
21–23	J'ay le fruit tant désiré	7	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type NIM Voice Role (Upper Voice 1 NIM) Superius Voice Role (Lower Voice 1 NIM) Tenor Voice Role (Upper Voice 2 NIM) Contratenor Voice Role (Lower Voice 2 NIM) Bassus
23–24	J'ay le fruit tant désiré	7	Details
Analysis ID Analyst 27 Is Cadence? No
23–25	J'ay le fruit tant désiré	8	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple Other Formulas Romanesca Text Treatment Text Representation Comments Text representation: strange (counter?) representation of 'contente' with falling Romanesca pattern, including inflected Eflat.
24–25	J'ay le fruit tant désiré	8	Details
Analysis ID Analyst 27 Is Cadence? No Comments Although not at the end of a text phrase, the movement towards a cadence is relatively strong here with the Romanesca pattern descent (and the terminating poetic phrase overlaps with the following phrase).
25–28	J'ay le fruit tant désiré	9	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Superius Voice Role (Dux 2) Tenor Voice Role (@1 or @8) Superius Voice Role (Above) Superius Other Counterpoint Stretto Fuga Text Treatment Text Overlap Comments The 'contente' of phrase 8 overlaps as part of the motivic material in phrase 9, with an elision contente-et.
26–26	J'ay le fruit tant désiré	9	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Representation Comments Melisma on 'heureuse' in Ct.
27–29	J'ay le fruit tant désiré	9	Details
Analysis ID Analyst 27 Is Cadence? No
23–29	J'ay le fruit tant désiré	9	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 8 Repeat, Exact or Varied? Comments Final (exact) repeat of both phrases 8-9.
1–5	Vous estes un fascheux homme	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Superius Voice Role (Dux 2) Tenor Voice Role (@1 or @8) Contratenor Voice Role (Above) Contratenor Comments PEn tonal, but the T comes in with a later entry, and the Ct aborts the phrase for the text from phrase 2 (a text overlap) in mm 2-5.
4–6	Vous estes un fascheux homme	1	Details
Analysis ID Analyst 27 Is Cadence? No
5–6	Vous estes un fascheux homme	1	Details
Analysis ID Analyst 27 Is Cadence? No
2–6	Vous estes un fascheux homme	2	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Overlap Comments Text from phrase 1 continues into phrase 2, already from m.2 and consistently into m.6 (making it unclear which phrase dominates - perhaps a 'fascheux' trait already).
7–8	Vous estes un fascheux homme	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
5–6	Vous estes un fascheux homme	2	Details
Analysis ID Analyst 27 Is Cadence? No
8–9	Vous estes un fascheux homme	2	Details
Analysis ID Analyst 27 Is Cadence? No
9–12	Vous estes un fascheux homme	3	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
9–12	Vous estes un fascheux homme	3	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type NIM Voice Role (Upper Voice 1 NIM) Superius Voice Role (Lower Voice 1 NIM) Contratenor Voice Role (Upper Voice 2 NIM) Tenor Voice Role (Lower Voice 2 NIM) Bassus Voice Role (@1 or @8) Tenor Voice Role (Below) Tenor
12–12	Vous estes un fascheux homme	4	Details
Analysis ID Analyst 27 Is Cadence? No Comments Evaded Cadence: Ct rises to F, rather than falling to D (2>1).
13–14	Vous estes un fascheux homme	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger
14–14	Vous estes un fascheux homme	5	Details
Analysis ID Analyst 27 Is Cadence? No
14–15	Vous estes un fascheux homme	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
15–15	Vous estes un fascheux homme	6	Details
Analysis ID Analyst 27 Is Cadence? No
15–17	Vous estes un fascheux homme	7	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
17–22	Vous estes un fascheux homme	8	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type NIM Voice Role (Upper Voice 1 NIM) Tenor Voice Role (Lower Voice 1 NIM) Bassus Voice Role (Upper Voice 2 NIM) Superius Voice Role (Lower Voice 2 NIM) Contratenor Voice Role (@1 or @8) Superius Voice Role (Above) Superius Repeat Kind Refrain Earlier Phrase 1 Repeat, Exact or Varied? Comments Refrain: phrases 8-9 form a quasi-refrain (repeating phrases 1-2), but greatly varied. Namely, a flexible NIM is incorporated into phrases 8-9 and inner voices (particularly Ct) are elaborated upon.
21–23	Vous estes un fascheux homme	9	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Overlap Comments Text overlap: the text of phrase 8 "vous estes un fascheux homme" re-enters in T [and B], sandwiched between and overlapping with the text of phrase 9 (somewhat 'fascheux,' again).
24–25	Vous estes un fascheux homme	9	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
25–28	Vous estes un fascheux homme	10	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 3 Repeat, Exact or Varied? Comments The accompanimental voices (B, then Ct) in the NIM (repeated from phrase 3) are altered into more melismatic passages.
26–27	Vous estes un fascheux homme	10	Details
Analysis ID Analyst 27 Is Cadence? No
25–27	Vous estes un fascheux homme	10	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Overlap Comments Text overlap: phrase 8 text is repeated in B and Ct, while phrase 9 text enters, overlapping almost fully.
28–30	Vous estes un fascheux homme	11	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 4 Repeat, Exact or Varied? Comments Voicing is exchanged (i.e. harmonized the same, but with different voicing of the harmonies).
29–30	Vous estes un fascheux homme	11	Details
Analysis ID Analyst 27 Is Cadence? No Comments As a result of the voicing change (from phrase 4), the cadence in this phrase repetition is also different.
30–31	Vous estes un fascheux homme	12	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 5 Repeat, Exact or Varied? Comments Though retaining the basic texture and the same melody in the S, this phrase is substantially changed from phrase 5 in the harmonizations in the lower voices, creating also a different cadence.
32–32	Vous estes un fascheux homme	12	Details
Analysis ID Analyst 27 Is Cadence? No
14–15	Vous estes un fascheux homme	13	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 6 Repeat, Exact or Varied?
33–35	Vous estes un fascheux homme	14	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 7 Repeat, Exact or Varied?
35–41	Vous estes un fascheux homme	15	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Refrain Earlier Phrase 1 Repeat, Exact or Varied? Comments Refrain: Again, phrases 15-16 form a refrain from the material of phrases 1-2. However, the end of phrase 16 (mm. 39-40) in Ct is taken from phrase 9 (the 1st of this varied refrain). The 2nd half of phrase 16 (mm. 41-43) are an exact repetition.
44–47	Vous estes un fascheux homme	16	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dance Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments A final repetition of the 2nd half of phrase 2 here is now presented in triple meter.
1–3	Quand j'ay esté quinze heures avec vous	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
2–3	Quand j'ay esté quinze heures avec vous	1	Details
Analysis ID Analyst 27 Is Cadence? No Comments Cadence: no 7>8
3–5	Quand j'ay esté quinze heures avec vous	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
4–5	Quand j'ay esté quinze heures avec vous	2	Details
Analysis ID Analyst 27 Is Cadence? No Comments S has 4>3 sus.
1–3	Quand j'ay esté quinze heures avec vous	3	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
3–5	Quand j'ay esté quinze heures avec vous	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
6–8	Quand j'ay esté quinze heures avec vous	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
7–8	Quand j'ay esté quinze heures avec vous	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger
7–8	Quand j'ay esté quinze heures avec vous	5	Details
Analysis ID Analyst 27 Is Cadence? No Comments Hinting at a cadence at the end of this phrase (an evaded, inverted phrygian cadence in S/Ct, or S/B?), but voices finishing the phrase at different times thwart any strong cadential motion.
8–10	Quand j'ay esté quinze heures avec vous	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger
10–10	Quand j'ay esté quinze heures avec vous	6	Details
Analysis ID Analyst 27 Is Cadence? No
11–13	Quand j'ay esté quinze heures avec vous	7	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 5 Repeat, Exact or Varied?
13–15	Quand j'ay esté quinze heures avec vous	8	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 6 Repeat, Exact or Varied? Comments Repeat of phrase 6 with slight rhythmic alterations, an expanded (final) termination and a resultant different cadence.
17–17	Quand j'ay esté quinze heures avec vous	8	Details
Analysis ID Analyst 27 Is Cadence? No Comments Incomplete cadence: there is no 7>8 (and it is not evaded by an alternate motion).
1–1	Si vous aviez comme moy faim	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
1–4	Si vous aviez comme moy faim	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Tenor Voice Role (Comes 1) Superius Voice Role (@1 or @8) Superius
2–3	Si vous aviez comme moy faim	1	Details
Analysis ID Analyst 27 Is Cadence? No
3–4	Si vous aviez comme moy faim	1	Details
Analysis ID Analyst 27 Is Cadence? No
6–7	Si vous aviez comme moy faim	1	Details
Analysis ID Analyst 27 Is Cadence? No
4–5	Si vous aviez comme moy faim	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger
4–7	Si vous aviez comme moy faim	2	Details
Analysis ID Analyst 27 Is Cadence? No
6–7	Si vous aviez comme moy faim	2	Details
Analysis ID Analyst 27 Is Cadence? No
1–4	Si vous aviez comme moy faim	3	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
4–8	Si vous aviez comme moy faim	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Cadence is slightly varied (terminating D rather than B-flat in Ct).
6–8	Si vous aviez comme moy faim	4	Details
Analysis ID Analyst 27 Is Cadence? No
8–10	Si vous aviez comme moy faim	5	Details
Analysis ID Analyst 27 Is Cadence? No
11–12	Si vous aviez comme moy faim	5	Details
Analysis ID Analyst 27 Is Cadence? No
8–11	Si vous aviez comme moy faim	5	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Representation Comments Text representation: echo effect S/Ct > T/B for 'Je dis entendez' + repetition of 'entendez' (m11) now in simple, declamatory homorhythm.
13–15	Si vous aviez comme moy faim	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type ID Voice Role (Dux 1) Superius Voice Role (Comes 1) Bassus Voice Role (Dux 2) Contratenor Voice Role (Comes 2) Tenor Voice Role (@1 or @8) Tenor Voice Role (Below) Tenor Other Counterpoint Invertible Counterpoint Comments Ct presents theme in inversion.
16–17	Si vous aviez comme moy faim	6	Details
Analysis ID Analyst 27 Is Cadence? No
17–18	Si vous aviez comme moy faim	7	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
18–20	Si vous aviez comme moy faim	7	Details
Analysis ID Analyst 27 Is Cadence? No
20–21	Si vous aviez comme moy faim	7	Details
Analysis ID Analyst 27 Is Cadence? No
18–20	Si vous aviez comme moy faim	7	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Representation Comments Eflat inflection in Ct on 'mort,' creating a continued Eflat inflection throughout the phrase, leading to a somber phrygian cadence.
17–21	Si vous aviez comme moy faim	7	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 7 Repeat, Exact or Varied? Comments Final exact repetition of phrases 7 and 8.
22–23	Si vous aviez comme moy faim	8	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type NIM Voice Role (Upper Voice 1 NIM) Tenor Voice Role (Lower Voice 1 NIM) Bassus Voice Role (Upper Voice 2 NIM) Superius Voice Role (Lower Voice 2 NIM) Contratenor Voice Role (@1 or @8) Superius Voice Role (Above) Superius
23–26	Si vous aviez comme moy faim	8	Details
Analysis ID Analyst 27 Is Cadence? No
25–27	Si vous aviez comme moy faim	8	Details
Analysis ID Analyst 27 Is Cadence? No Comments Cadence: S has 4>3 sus.
1–5	Madame je vous remercie/ De m'avoir esté si rebourse	1	Details
Analysis ID Analyst 27 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 (Above) Tenor Other Counterpoint Stretto Fuga Comments ID: S entry in 2nd ID later than T entry in 1st ID.
2–3	Madame je vous remercie/ De m'avoir esté si rebourse	1	Details
Analysis ID Analyst 27 Is Cadence? No
4–5	Madame je vous remercie/ De m'avoir esté si rebourse	1	Details
Analysis ID Analyst 27 Is Cadence? No
6–10	Madame je vous remercie/ De m'avoir esté si rebourse	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Bassus Voice Role (Dux 2) Contratenor Voice Role (Comes 2) Superius Voice Role (@1 or @8) Tenor Voice Role (Above) Tenor
9–12	Madame je vous remercie/ De m'avoir esté si rebourse	2	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Overlap Comments Ct and B re-enter with text of phrase 1.
12–14	Madame je vous remercie/ De m'avoir esté si rebourse	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger
13–14	Madame je vous remercie/ De m'avoir esté si rebourse	2	Details
Analysis ID Analyst 27 Is Cadence? No Comments Cadence: S has 4>3 sus.
17–18	Madame je vous remercie/ De m'avoir esté si rebourse	2	Details
Analysis ID Analyst 27 Is Cadence? No
19–20	Madame je vous remercie/ De m'avoir esté si rebourse	2	Details
Analysis ID Analyst 27 Is Cadence? No
15–20	Madame je vous remercie/ De m'avoir esté si rebourse	3	Details
Analysis ID Analyst 27 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 (Above) Tenor Comments S in 2nd ID is a later entry than T in 1st ID.
20–25	Madame je vous remercie/ De m'avoir esté si rebourse	4	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type ID Voice Role (Dux 1) Tenor Voice Role (Comes 1) Bassus Voice Role (Dux 2) Contratenor Voice Role (Comes 2) Superius Voice Role (@4) Superius Voice Role (Above) Superius Comments 1st ID is strangely at a 2nd below.
22–23	Madame je vous remercie/ De m'avoir esté si rebourse	4	Details
Analysis ID Analyst 27 Is Cadence? No
24–25	Madame je vous remercie/ De m'avoir esté si rebourse	4	Details
Analysis ID Analyst 27 Is Cadence? No Comments Cadence: S has 4>3 sus.
26–27	Madame je vous remercie/ De m'avoir esté si rebourse	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dance
28–29	Madame je vous remercie/ De m'avoir esté si rebourse	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
28–29	Madame je vous remercie/ De m'avoir esté si rebourse	5	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Representation Comments echo response B/T > Ct>S from the question 'pourquoy?' to 'pource' echo bounced between the two voice pairs.
29–33	Madame je vous remercie/ De m'avoir esté si rebourse	6	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Representation Comments Text representation: 'Car deux' represented by exact repetition of the same phrase twice (mm 29-31; and mm 31-33).
33–34	Madame je vous remercie/ De m'avoir esté si rebourse	6	Details
Analysis ID Analyst 27 Is Cadence? No Comments Cadence: S has 4>3 sus.
34–35	Madame je vous remercie/ De m'avoir esté si rebourse	7	Details
Analysis ID Analyst 27 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 A very brief moment of FI, which is imitated in contrary motion in Ct in m 35.
37–41	Madame je vous remercie/ De m'avoir esté si rebourse	8	Details
Analysis ID Analyst 27 Is Cadence? No Voice Role (Dux 1) Bassus Voice Role (Comes 1) Tenor Voice Role (Dux 2) Contratenor Voice Role (Comes 2) Superius Voice Role (@4) Tenor Voice Role (Above) Tenor Comments Initial ID B>T (@ 4th above) is repeated mm 41-42.
40–41	Madame je vous remercie/ De m'avoir esté si rebourse	8	Details
Analysis ID Analyst 27 Is Cadence? No
43–43	Madame je vous remercie/ De m'avoir esté si rebourse	8	Details
Analysis ID Analyst 27 Is Cadence? No Comments The final cadence (mm 42-43) here is a phrygian cadence, while the preceding one (mm 41-42) is an authentic cadence to B-flat (but with an Eflat in B).
1–3	Long temps y a, innocente pucelle	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
3–5	Long temps y a, innocente pucelle	1	Details
Analysis ID Analyst 27 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
5–6	Long temps y a, innocente pucelle	1	Details
Analysis ID Analyst 27 Is Cadence? No
6–8	Long temps y a, innocente pucelle	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Tenor Voice Role (Comes 1) Bassus Voice Role (Dux 2) Superius Voice Role (@1 or @8) Superius Voice Role (Above) Superius
7–9	Long temps y a, innocente pucelle	2	Details
Analysis ID Analyst 27 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
10–12	Long temps y a, innocente pucelle	2	Details
Analysis ID Analyst 27 Is Cadence? No
12–14	Long temps y a, innocente pucelle	3	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger
14–16	Long temps y a, innocente pucelle	3	Details
Analysis ID Analyst 27 Is Cadence? No
16–17	Long temps y a, innocente pucelle	3	Details
Analysis ID Analyst 27 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
18–19	Long temps y a, innocente pucelle	3	Details
Analysis ID Analyst 27 Is Cadence? No Comments Cadence: S has 4>3 sus.
20–24	Long temps y a, innocente pucelle	4	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dance
22–24	Long temps y a, innocente pucelle	4	Details
Analysis ID Analyst 27 Is Cadence? No
23–24	Long temps y a, innocente pucelle	4	Details
Analysis ID Analyst 27 Is Cadence? No
24–26	Long temps y a, innocente pucelle	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
24–27	Long temps y a, innocente pucelle	5	Details
Analysis ID Analyst 27 Is Cadence? No
26–27	Long temps y a, innocente pucelle	5	Details
Analysis ID Analyst 27 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 Other Counterpoint Stretto Fuga
29–31	Long temps y a, innocente pucelle	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Tenor Voice Role (Dux 2) Bassus Voice Role (@1 or @8) Bassus Voice Role (@5) Tenor Voice Role (Below) Tenor
30–33	Long temps y a, innocente pucelle	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Superius Voice Role (Comes 1) Contratenor Voice Role (Dux 2) Tenor Voice Role (@1 or @8) Tenor Voice Role (@5) Contratenor Voice Role (Below) Contratenor
37–38	Long temps y a, innocente pucelle	6	Details
Analysis ID Analyst 27 Is Cadence? No
31–38	Long temps y a, innocente pucelle	6	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 6 Repeat, Exact or Varied?
1–1	Musiciens qui chantez à plaisir	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
2–3	Musiciens qui chantez à plaisir	1	Details
Analysis ID Analyst 27 Is Cadence? No
1–6	Musiciens qui chantez à plaisir	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type NIM Voice Role (Upper Voice 1 NIM) Superius Voice Role (Lower Voice 1 NIM) Contratenor Voice Role (Upper Voice 2 NIM) Tenor Voice Role (Lower Voice 2 NIM) Bassus Voice Role (@1 or @8) Tenor Voice Role (Below) Tenor
4–5	Musiciens qui chantez à plaisir	1	Details
Analysis ID Analyst 27 Is Cadence? No
5–6	Musiciens qui chantez à plaisir	1	Details
Analysis ID Analyst 27 Is Cadence? No
5–9	Musiciens qui chantez à plaisir	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type ID Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Superius Voice Role (Dux 2) Bassus Voice Role (Comes 2) Tenor Voice Role (@5) Superius Voice Role (Above) Superius Text Treatment Text Overlap Comments Text overlap: T and B continue with text from phrase 1, while Ct and S enter with text from phrase 2 (mm 5-6).
7–8	Musiciens qui chantez à plaisir	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Stacked Voice Role (Dux 1) Bassus Voice Role (Comes 1) Tenor Voice Role (Dux 2) Superius Voice Role (@5) Tenor Voice Role (Above) Tenor
9–10	Musiciens qui chantez à plaisir	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Superius Voice Role (Dux 2) Tenor Voice Role (@1 or @8) Tenor Voice Role (@5) Superius Voice Role (Above) Superius Voice Role (Below) Tenor
10–11	Musiciens qui chantez à plaisir	2	Details
Analysis ID Analyst 27 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 (@5) Contratenor Voice Role (Above) Contratenor Other Counterpoint Stretto Fuga
11–12	Musiciens qui chantez à plaisir	2	Details
Analysis ID Analyst 27 Is Cadence? No
12–13	Musiciens qui chantez à plaisir	2	Details
Analysis ID Analyst 27 Is Cadence? No
14–17	Musiciens qui chantez à plaisir	3	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied? Comments Varied repeat: The opening of the phrase 3 is presented in staggered homorhythm, including the T and B voices, unlike the opening of phrase 1.
18–26	Musiciens qui chantez à plaisir	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
29–31	Musiciens qui chantez à plaisir	5	Details
Analysis ID Analyst 27 Is Cadence? No
31–32	Musiciens qui chantez à plaisir	5	Details
Analysis ID Analyst 27 Is Cadence? No
32–33	Musiciens qui chantez à plaisir	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger
34–36	Musiciens qui chantez à plaisir	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Tenor Voice Role (Comes 1) Contratenor Voice Role (Above) Contratenor
34–36	Musiciens qui chantez à plaisir	6	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Representation Comments "Plaisir" presented in long melisma in S.
38–39	Musiciens qui chantez à plaisir	6	Details
Analysis ID Analyst 27 Is Cadence? No
40–43	Musiciens qui chantez à plaisir	7	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 3 Repeat, Exact or Varied?
43–52	Musiciens qui chantez à plaisir	8	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 4 Repeat, Exact or Varied?
52–53	Musiciens qui chantez à plaisir	9	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Bassus Voice Role (Dux 2) Superius Voice Role (@5) Superius Voice Role (Above) Superius Voice Role (Below) Bassus
52–52	Musiciens qui chantez à plaisir	9	Details
Analysis ID Analyst 27 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 Comments FI is an inversion of PEn (of mm 52-53).
54–55	Musiciens qui chantez à plaisir	9	Details
Analysis ID Analyst 27 Is Cadence? No
55–56	Musiciens qui chantez à plaisir	10	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Overlap Comments T and B continue with text from phrase 9, while Ct and S begin text from phrase 10.
59–60	Musiciens qui chantez à plaisir	10	Details
Analysis ID Analyst 27 Is Cadence? No
61–65	Musiciens qui chantez à plaisir	10	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dance Text Treatment Text Representation Comments Text representation: shift to triple meter, homorhythmic dance with reiteration of 'si vous n'avez à boire' (joyous drinking?).
64–65	Musiciens qui chantez à plaisir	10	Details
Analysis ID Analyst 27 Is Cadence? No Comments Final cadence authentic; preceding cadence mm 60-61, authentic S/T to G.
1–1	Ça ces beaux yeux, ça ceste bouche	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
2–3	Ça ces beaux yeux, ça ceste bouche	1	Details
Analysis ID Analyst 27 Is Cadence? No
3–4	Ça ces beaux yeux, ça ceste bouche	1	Details
Analysis ID Analyst 27 Is Cadence? No
3–4	Ça ces beaux yeux, ça ceste bouche	1	Details
Analysis ID Analyst 27 Is Cadence? No
5–6	Ça ces beaux yeux, ça ceste bouche	1	Details
Analysis ID Analyst 27 Is Cadence? No
6–8	Ça ces beaux yeux, ça ceste bouche	2	Details
Analysis ID Analyst 27 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 (Below) Tenor
10–12	Ça ces beaux yeux, ça ceste bouche	2	Details
Analysis ID Analyst 27 Is Cadence? No
11–12	Ça ces beaux yeux, ça ceste bouche	2	Details
Analysis ID Analyst 27 Is Cadence? No
12–14	Ça ces beaux yeux, ça ceste bouche	3	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
13–14	Ça ces beaux yeux, ça ceste bouche	3	Details
Analysis ID Analyst 27 Is Cadence? No Comments Cad: Ct goes to rest in m 13, rather than A.
17–18	Ça ces beaux yeux, ça ceste bouche	4	Details
Analysis ID Analyst 27 Is Cadence? No
22–23	Ça ces beaux yeux, ça ceste bouche	5	Details
Analysis ID Analyst 27 Is Cadence? No
23–26	Ça ces beaux yeux, ça ceste bouche	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
25–26	Ça ces beaux yeux, ça ceste bouche	6	Details
Analysis ID Analyst 27 Is Cadence? No
27–30	Ça ces beaux yeux, ça ceste bouche	6	Details
Analysis ID Analyst 27 Is Cadence? No
25–27	Ça ces beaux yeux, ça ceste bouche	7	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
29–30	Ça ces beaux yeux, ça ceste bouche	7	Details
Analysis ID Analyst 27 Is Cadence? No
26–28	Ça ces beaux yeux, ça ceste bouche	7	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 7 Repeat, Exact or Varied? Comments Final exact repeat of both phrases 7-8.
30–33	Ça ces beaux yeux, ça ceste bouche	8	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger
32–33	Ça ces beaux yeux, ça ceste bouche	8	Details
Analysis ID Analyst 27 Is Cadence? No
1–1	J'endure tout, c'est bien raison	1	Details
Analysis ID Analyst 27 Is Cadence? No
2–4	J'endure tout, c'est bien raison	1	Details
Analysis ID Analyst 27 Is Cadence? No
3–4	J'endure tout, c'est bien raison	1	Details
Analysis ID Analyst 27 Is Cadence? No
4–6	J'endure tout, c'est bien raison	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
6–6	J'endure tout, c'est bien raison	2	Details
Analysis ID Analyst 27 Is Cadence? No
9–10	J'endure tout, c'est bien raison	2	Details
Analysis ID Analyst 27 Is Cadence? No Comments Evaded Cad: Ct to F, rather than D.
6–8	J'endure tout, c'est bien raison	2	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Representation Comments Text rep: extreme, frilly melisma on "mignon" in mm 6-8 in T (and a shorter melisma m6 on "mignon" in S).
10–13	J'endure tout, c'est bien raison	3	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
13–21	J'endure tout, c'est bien raison	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Varied rep: expanded ending and different cadence. T and B are particularly different mm 18-20.
20–21	J'endure tout, c'est bien raison	4	Details
Analysis ID Analyst 27 Is Cadence? No
22–24	J'endure tout, c'est bien raison	5	Details
Analysis ID Analyst 27 Is Cadence? No
22–24	J'endure tout, c'est bien raison	5	Details
Analysis ID Analyst 27 Is Cadence? No
23–24	J'endure tout, c'est bien raison	5	Details
Analysis ID Analyst 27 Is Cadence? No
25–27	J'endure tout, c'est bien raison	6	Details
Analysis ID Analyst 27 Is Cadence? No
26–27	J'endure tout, c'est bien raison	6	Details
Analysis ID Analyst 27 Is Cadence? No
27–30	J'endure tout, c'est bien raison	7	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 5 Repeat, Exact or Varied? Comments Varied rep: harmonies are altered from phrase 5, particularly in Ct.
31–38	J'endure tout, c'est bien raison	8	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 6 Repeat, Exact or Varied? Comments Varied rep: altered harmonies (particularly B) from phrase 6, and a substantially expanded ending with different cadence.
22–38	J'endure tout, c'est bien raison	8	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Refrain Earlier Phrase 5 Repeat, Exact or Varied? Comments Exact repetition of phrases 5-8.
1–3	Ce disoit une jeune dame	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Comes 1) Contratenor Voice Role (Dux 2) Superius Voice Role (Comes 2) Tenor Voice Role (@1 or @8) Tenor Voice Role (@5) Superius Voice Role (Above) Superius Voice Role (Below) Tenor
3–5	Ce disoit une jeune dame	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Superius Voice Role (Comes 1) Bassus Voice Role (Dux 2) Tenor Voice Role (@4) Bassus Voice Role (Above) Tenor Voice Role (Below) Bassus Other Counterpoint Stretto Fuga, Invertible Counterpoint
4–5	Ce disoit une jeune dame	2	Details
Analysis ID Analyst 27 Is Cadence? No
6–7	Ce disoit une jeune dame	2	Details
Analysis ID Analyst 27 Is Cadence? No
6–7	Ce disoit une jeune dame	2	Details
Analysis ID Analyst 27 Is Cadence? No
8–10	Ce disoit une jeune dame	3	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
9–10	Ce disoit une jeune dame	3	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Representation Comments Text rep: sudden spondee on "l'âme" cadence - putting special attention on the soul.
12–15	Ce disoit une jeune dame	4	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Overlap Comments Text overlap m 12 (also, parallel 4ths in S/T in m 11, which are not part of fauxbourdon).
14–15	Ce disoit une jeune dame	4	Details
Analysis ID Analyst 27 Is Cadence? No
16–18	Ce disoit une jeune dame	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type FI 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
18–19	Ce disoit une jeune dame	5	Details
Analysis ID Analyst 27 Is Cadence? No
19–22	Ce disoit une jeune dame	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger
21–22	Ce disoit une jeune dame	6	Details
Analysis ID Analyst 27 Is Cadence? No
22–24	Ce disoit une jeune dame	7	Details
Analysis ID Analyst 27 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
25–26	Ce disoit une jeune dame	7	Details
Analysis ID Analyst 27 Is Cadence? No Comments Evaded cad: S to B-flat, rather than G.
29–31	Ce disoit une jeune dame	8	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
30–31	Ce disoit une jeune dame	8	Details
Analysis ID Analyst 27 Is Cadence? No
35–36	Ce disoit une jeune dame	9	Details
Analysis ID Analyst 27 Is Cadence? No
35–36	Ce disoit une jeune dame	9	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Representation Comments Text rep: excited rising lines in al voices for "levray" (mm 33-36).
35–36	Ce disoit une jeune dame	9	Details
Analysis ID Analyst 27 Is Cadence? No
37–38	Ce disoit une jeune dame	10	Details
Analysis ID Analyst 27 Is Cadence? No
39–41	Ce disoit une jeune dame	10	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Representation Comments Text rep: "cela" (pointing to something) echoing through all voices (mm 36-40).
40–42	Ce disoit une jeune dame	10	Details
Analysis ID Analyst 27 Is Cadence? No
37–42	Ce disoit une jeune dame	10	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 10 Repeat, Exact or Varied?
1–3	Quand je voy ma mignonne rire	1	Details
Analysis ID Analyst 27 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 (@5) Bassus Voice Role (@4) Tenor Voice Role (Below) Bassus Other Counterpoint Stretto Fuga
2–2	Quand je voy ma mignonne rire	1	Details
Analysis ID Analyst 27 Is Cadence? No
3–5	Quand je voy ma mignonne rire	2	Details
Analysis ID Analyst 27 Is Cadence? No
4–5	Quand je voy ma mignonne rire	2	Details
Analysis ID Analyst 27 Is Cadence? No Comments Evaded cad: S leaps to A, rather than rising to D (no 7>8).
6–7	Quand je voy ma mignonne rire	3	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Representation Comments Text rep: falling line in S, Ct, and T for "soupire."
7–9	Quand je voy ma mignonne rire	4	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
9–9	Quand je voy ma mignonne rire	4	Details
Analysis ID Analyst 27 Is Cadence? No
10–11	Quand je voy ma mignonne rire	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
11–13	Quand je voy ma mignonne rire	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
12–13	Quand je voy ma mignonne rire	6	Details
Analysis ID Analyst 27 Is Cadence? No
14–16	Quand je voy ma mignonne rire	7	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Tonal 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 Stretto Fuga
15–16	Quand je voy ma mignonne rire	7	Details
Analysis ID Analyst 27 Is Cadence? No Comments Evaded cad: S to A rather than D (no 7>8).
16–17	Quand je voy ma mignonne rire	8	Details
Analysis ID Analyst 27 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
18–20	Quand je voy ma mignonne rire	8	Details
Analysis ID Analyst 27 Is Cadence? No
14–20	Quand je voy ma mignonne rire	8	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 7 Repeat, Exact or Varied? Comments Final exact repetition of phrases 7-8.
2–3	Je ne veulx plus de mon malheur me plaindre	1	Details
Analysis ID Analyst 27 Is Cadence? No
3–6	Je ne veulx plus de mon malheur me plaindre	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Bassus Voice Role (Dux 2) Tenor Voice Role (@1 or @8) Tenor Voice Role (@5) Bassus Voice Role (Above) Tenor Voice Role (Below) Bassus Other Counterpoint Stretto Fuga
6–7	Je ne veulx plus de mon malheur me plaindre	1	Details
Analysis ID Analyst 27 Is Cadence? No Comments Evaded cad: Ct to E rather than C (no 2>1).
1–13	Je ne veulx plus de mon malheur me plaindre	1	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Da Capo Earlier Phrase 1 Repeat, Exact or Varied? Comments Phrases 3-4 are an exact repetition of phrases 1-2.
10–12	Je ne veulx plus de mon malheur me plaindre	2	Details
Analysis ID Analyst 27 Is Cadence? No
11–12	Je ne veulx plus de mon malheur me plaindre	2	Details
Analysis ID Analyst 27 Is Cadence? No
12–15	Je ne veulx plus de mon malheur me plaindre	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
14–15	Je ne veulx plus de mon malheur me plaindre	5	Details
Analysis ID Analyst 27 Is Cadence? No
15–18	Je ne veulx plus de mon malheur me plaindre	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Tenor Voice Role (Dux 2) Bassus Voice Role (@1 or @8) Tenor Voice Role (Below) Tenor Other Counterpoint Stretto Fuga
18–21	Je ne veulx plus de mon malheur me plaindre	6	Details
Analysis ID Analyst 27 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
21–22	Je ne veulx plus de mon malheur me plaindre	6	Details
Analysis ID Analyst 27 Is Cadence? No
21–23	Je ne veulx plus de mon malheur me plaindre	7	Details
Analysis ID Analyst 27 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
24–25	Je ne veulx plus de mon malheur me plaindre	7	Details
Analysis ID Analyst 27 Is Cadence? No
26–28	Je ne veulx plus de mon malheur me plaindre	8	Details
Analysis ID Analyst 27 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
27–29	Je ne veulx plus de mon malheur me plaindre	8	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger Other Formulas Romanesca
30–30	Je ne veulx plus de mon malheur me plaindre	8	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause Comments Full measure pause before musical return of phrases 1-2.
28–29	Je ne veulx plus de mon malheur me plaindre	8	Details
Analysis ID Analyst 27 Is Cadence? No
30–36	Je ne veulx plus de mon malheur me plaindre	9	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Representation Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied? Comments Text rep: "agonie" in phrase 9 is represented through refusal of a proper cadence mm 34-5 (with a drop and leap in the B from F>E>C, finally going to G - rather than F-G, or 7>8), and a second refusal, with an evaded cadence in mm 35-6. Interestingly, this is also a representation of the parallel text in phrase 1 ("plaindre").
36–41	Je ne veulx plus de mon malheur me plaindre	10	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
1–3	Puisque tu veulx mettre fin à ta plaincte	1	Details
Analysis ID Analyst 27 Is Cadence? No
3–7	Puisque tu veulx mettre fin à ta plaincte	1	Details
Analysis ID Analyst 27 Is Cadence? No
6–7	Puisque tu veulx mettre fin à ta plaincte	1	Details
Analysis ID Analyst 27 Is Cadence? No
1–11	Puisque tu veulx mettre fin à ta plaincte	1	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Da Capo Earlier Phrase 1 Repeat, Exact or Varied? Comments Phrases 3-4 are an exact musical repetition of phrases 1-2.
7–9	Puisque tu veulx mettre fin à ta plaincte	2	Details
Analysis ID Analyst 27 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
8–11	Puisque tu veulx mettre fin à ta plaincte	2	Details
Analysis ID Analyst 27 Is Cadence? No
10–11	Puisque tu veulx mettre fin à ta plaincte	2	Details
Analysis ID Analyst 27 Is Cadence? No
12–12	Puisque tu veulx mettre fin à ta plaincte	5	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Pause Comments There is a collective pause before moving on from the 1st section of music (phrases 1-4). This pause is also affective/a sort of text representation, as it is followed by simple, declarative homorhythm with the text "Car j'ay espoir ...".
12–16	Puisque tu veulx mettre fin à ta plaincte	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
15–16	Puisque tu veulx mettre fin à ta plaincte	5	Details
Analysis ID Analyst 27 Is Cadence? No
16–20	Puisque tu veulx mettre fin à ta plaincte	6	Details
Analysis ID Analyst 27 Is Cadence? No
20–21	Puisque tu veulx mettre fin à ta plaincte	6	Details
Analysis ID Analyst 27 Is Cadence? No
23–26	Puisque tu veulx mettre fin à ta plaincte	7	Details
Analysis ID Analyst 27 Is Cadence? No
25–26	Puisque tu veulx mettre fin à ta plaincte	7	Details
Analysis ID Analyst 27 Is Cadence? No
26–29	Puisque tu veulx mettre fin à ta plaincte	8	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Bassus Voice Role (Comes 1) Superius Voice Role (Dux 2) Tenor Voice Role (Comes 2) Bassus Voice Role (@4) Superius Voice Role (Above) Superius Other Counterpoint Stretto Fuga
28–31	Puisque tu veulx mettre fin à ta plaincte	8	Details
Analysis ID Analyst 27 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
31–32	Puisque tu veulx mettre fin à ta plaincte	8	Details
Analysis ID Analyst 27 Is Cadence? No
33–39	Puisque tu veulx mettre fin à ta plaincte	9	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
33–44	Puisque tu veulx mettre fin à ta plaincte	9	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 9 Repeat, Exact or Varied? Comments Exact final repetition of phrases 9-10.
39–44	Puisque tu veulx mettre fin à ta plaincte	10	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
1–2	Où cerchez-vous du dieu d'amour l'empire	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger
4–5	Où cerchez-vous du dieu d'amour l'empire	1	Details
Analysis ID Analyst 27 Is Cadence? No
5–6	Où cerchez-vous du dieu d'amour l'empire	1	Details
Analysis ID Analyst 27 Is Cadence? No
29–32	Il est permis trouver au lict s'amie	8	Details
Analysis ID Analyst 27 Is Cadence? No
8–9	Où cerchez-vous du dieu d'amour l'empire	2	Details
Analysis ID Analyst 27 Is Cadence? No
9–10	Où cerchez-vous du dieu d'amour l'empire	2	Details
Analysis ID Analyst 27 Is Cadence? No
1–10	Où cerchez-vous du dieu d'amour l'empire	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Da Capo Earlier Phrase 1 Repeat, Exact or Varied? Comments Phrases 3-4 are an exact musical repeat of phrases 1-2.
11–15	Où cerchez-vous du dieu d'amour l'empire	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Tenor Voice Role (Comes 1) Bassus Voice Role (Dux 2) Superius Voice Role (@5) Bassus Voice Role (Below) Bassus Other Counterpoint Stretto Fuga, Invertible Counterpoint
14–15	Où cerchez-vous du dieu d'amour l'empire	5	Details
Analysis ID Analyst 27 Is Cadence? No
15–17	Où cerchez-vous du dieu d'amour l'empire	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Stacked Voice Role (Dux 1) Bassus Voice Role (Comes 1) Tenor Voice Role (Dux 2) Contratenor Voice Role (@5) Tenor Voice Role (Above) Tenor Other Counterpoint Stretto Fuga
16–17	Où cerchez-vous du dieu d'amour l'empire	6	Details
Analysis ID Analyst 27 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
18–20	Où cerchez-vous du dieu d'amour l'empire	6	Details
Analysis ID Analyst 27 Is Cadence? No
19–20	Où cerchez-vous du dieu d'amour l'empire	6	Details
Analysis ID Analyst 27 Is Cadence? No
20–25	Où cerchez-vous du dieu d'amour l'empire	7	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Representation Comments Text rep: "m'amour' in duo echoes (mm 20-21).
24–25	Où cerchez-vous du dieu d'amour l'empire	7	Details
Analysis ID Analyst 27 Is Cadence? No
25–26	Où cerchez-vous du dieu d'amour l'empire	8	Details
Analysis ID Analyst 27 Is Cadence? No
28–29	Où cerchez-vous du dieu d'amour l'empire	8	Details
Analysis ID Analyst 27 Is Cadence? No
30–31	Où cerchez-vous du dieu d'amour l'empire	8	Details
Analysis ID Analyst 27 Is Cadence? No
29–30	Où cerchez-vous du dieu d'amour l'empire	9	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Tenor Voice Role (Comes 1) Superius
33–35	Où cerchez-vous du dieu d'amour l'empire	10	Details
Analysis ID Analyst 27 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 Text Treatment Text Overlap Comments Text overlap: mm 33-34, text from from phrase 9 continues in Ct and T while text from phrase 10 begins in S and B.
36–38	Où cerchez-vous du dieu d'amour l'empire	10	Details
Analysis ID Analyst 27 Is Cadence? No
33–37	Où cerchez-vous du dieu d'amour l'empire	10	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 10 Repeat, Exact or Varied?
1–1	Il est permis trouver au lict s'amie	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
1–3	Il est permis trouver au lict s'amie	1	Details
Analysis ID Analyst 27 Is Cadence? No
3–4	Il est permis trouver au lict s'amie	1	Details
Analysis ID Analyst 27 Is Cadence? No
4–7	Il est permis trouver au lict s'amie	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Bassus Voice Role (Comes 1) Contratenor Voice Role (Dux 2) Tenor Voice Role (@1 or @8) Contratenor Voice Role (@5) Tenor Voice Role (Above) Contratenor Voice Role (Below) Tenor Other Counterpoint Stretto Fuga
6–7	Il est permis trouver au lict s'amie	2	Details
Analysis ID Analyst 27 Is Cadence? No
7–8	Il est permis trouver au lict s'amie	2	Details
Analysis ID Analyst 27 Is Cadence? No Comments Evaded cad: Ct to E, rather than C (no 2>1).
8–11	Il est permis trouver au lict s'amie	3	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Declamation Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied? Comments Text declamation: with the repeat of the music from phrase 1, the text in phrase 3 "tetin" pops out as obviously declaimed in m 9 Ct, B.
11–15	Il est permis trouver au lict s'amie	4	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
15–18	Il est permis trouver au lict s'amie	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Staggered
17–18	Il est permis trouver au lict s'amie	5	Details
Analysis ID Analyst 27 Is Cadence? No
19–21	Il est permis trouver au lict s'amie	6	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Simple
22–23	Il est permis trouver au lict s'amie	6	Details
Analysis ID Analyst 27 Is Cadence? No
23–24	Il est permis trouver au lict s'amie	6	Details
Analysis ID Analyst 27 Is Cadence? No
24–27	Il est permis trouver au lict s'amie	7	Details
Analysis ID Analyst 27 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 (@1 or @8) Tenor Voice Role (@5) Bassus Voice Role (Above) Tenor Voice Role (Below) Bassus Other Counterpoint Stretto Fuga
26–27	Il est permis trouver au lict s'amie	7	Details
Analysis ID Analyst 27 Is Cadence? No
25–32	Il est permis trouver au lict s'amie	7	Details
Analysis ID Analyst 27 Is Cadence? No Repeat Kind Final Repeat Earlier Phrase 7 Repeat, Exact or Varied? Comments Exact final repeat of phrases 7-8.
28–28	Il est permis trouver au lict s'amie	8	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll
28–30	Il est permis trouver au lict s'amie	8	Details
Analysis ID Analyst 27 Is Cadence? No
31–32	Il est permis trouver au lict s'amie	8	Details
Analysis ID Analyst 27 Is Cadence? No
1–6	Un jour dormoit Colin en my des prez	1	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type ID Voice Role (Dux 1) Tenor Voice Role (Comes 1) Superius Voice Role (Dux 2) Contratenor Voice Role (Comes 2) Bassus Voice Role (@5) Superius Voice Role (@4) Bassus Voice Role (Above) Superius Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint
5–6	Un jour dormoit Colin en my des prez	1	Details
Analysis ID Analyst 27 Is Cadence? No
3–5	Un jour dormoit Colin en my des prez	2	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Enjambment Comments Text enjambment: the musical line of phrase 1 continues into (i.e. involves) the text of phrase 2 (" ... en pleine terre"), following the grammar of the text, rather than the poetic lines.
6–8	Un jour dormoit Colin en my des prez	2	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type ID Voice Role (Dux 1) Superius Voice Role (Comes 1) Bassus Voice Role (Dux 2) Tenor Voice Role (Comes 2) Contratenor Voice Role (@5) Bassus Voice Role (@4) Superius Voice Role (Above) Superius Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint, Stretto Fuga
4–6	Un jour dormoit Colin en my des prez	2	Details
Analysis ID Analyst 27 Is Cadence? No
10–11	Un jour dormoit Colin en my des prez	2	Details
Analysis ID Analyst 27 Is Cadence? No
13–14	Un jour dormoit Colin en my des prez	3	Details
Analysis ID Analyst 27 Is Cadence? No
13–14	Un jour dormoit Colin en my des prez	4	Details
Analysis ID Analyst 27 Is Cadence? No Text Treatment Text Overlap
14–17	Un jour dormoit Colin en my des prez	4	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Staggered
17–18	Un jour dormoit Colin en my des prez	4	Details
Analysis ID Analyst 27 Is Cadence? No
19–23	Un jour dormoit Colin en my des prez	5	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Dactyll Text Treatment Text Representation Comments Text rep: striking shift to Eflat (B+Ct) with "mais" ("but").
22–23	Un jour dormoit Colin en my des prez	5	Details
Analysis ID Analyst 27 Is Cadence? No
25–26	Un jour dormoit Colin en my des prez	6	Details
Analysis ID Analyst 27 Is Cadence? No Comments Evaded cad: T to E, rather than C (no 2>1).
26–29	Un jour dormoit Colin en my des prez	7	Details
Analysis ID Analyst 27 Is Cadence? No Other Presentation Type HR Stagger
28–29	Un jour dormoit Colin en my des prez	7	Details
Analysis ID Analyst 27 Is Cadence? No
28–29	Un jour dormoit Colin en my des prez	7	Details
Analysis ID Analyst 27 Is Cadence? No

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

Herdman, Jessica

Analyses

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