The Lost Voices Project

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

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Apgar, Jamie

Analyses

Measures Piece Phrase Number
3–3 Qui souhaitez avoir tout le plaisir 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
1–3 Qui souhaitez avoir tout le plaisir 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
6–7 Qui souhaitez avoir tout le plaisir 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
Text Treatment
Text Representation

Comments

Tenor melisma on "plaisir" is the TEXT REP
4–5 Qui souhaitez avoir tout le plaisir 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
3–6 Qui souhaitez avoir tout le plaisir 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
5–6 Qui souhaitez avoir tout le plaisir 1 Details
Analysis ID
Analyst
30
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
30
Is Cadence?
No
1–3 Qui souhaitez avoir tout le plaisir 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Dactyll

Comments

This is a correction to analysis spreadsheet line 1805.
8–9 Qui souhaitez avoir tout le plaisir 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
10–12 Qui souhaitez avoir tout le plaisir 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Contratenor
Voice Role (Comes 1)
Superius
Voice Role (Dux 2)
Bassus
Voice Role (@5)
Superius
Voice Role (Above)
Superius
Other Counterpoint
Invertible Counterpoint, Stretto Fuga
9–11 Qui souhaitez avoir tout le plaisir 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
11–12 Qui souhaitez avoir tout le plaisir 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Formulas
Romanesca
12–13 Qui souhaitez avoir tout le plaisir 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
1–7 Qui souhaitez avoir tout le plaisir 3 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
7–13 Qui souhaitez avoir tout le plaisir 4 Details
Analysis ID
Analyst
30
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
30
Is Cadence?
No
Other Presentation Type
HR Simple
15–16 Qui souhaitez avoir tout le plaisir 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
16–17 Qui souhaitez avoir tout le plaisir 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
Text Treatment
Text Overlap
17–19 Qui souhaitez avoir tout le plaisir 6 Details
Analysis ID
Analyst
30
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
21–22 Qui souhaitez avoir tout le plaisir 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Formulas
Romanesca
21–22 Qui souhaitez avoir tout le plaisir 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
23–26 Qui souhaitez avoir tout le plaisir 7 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Simple
23–24 Qui souhaitez avoir tout le plaisir 7 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Formulas
Romanesca
25–26 Qui souhaitez avoir tout le plaisir 7 Details
Analysis ID
Analyst
30
Is Cadence?
No
25–26 Qui souhaitez avoir tout le plaisir 7 Details
Analysis ID
Analyst
30
Is Cadence?
No
26–29 Qui souhaitez avoir tout le plaisir 8 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
30–31 Qui souhaitez avoir tout le plaisir 8 Details
Analysis ID
Analyst
30
Is Cadence?
No
30–31 Qui souhaitez avoir tout le plaisir 8 Details
Analysis ID
Analyst
30
Is Cadence?
No
Text Treatment
Text Overlap
31–32 Qui souhaitez avoir tout le plaisir 8 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
32–33 Qui souhaitez avoir tout le plaisir 8 Details
Analysis ID
Analyst
30
Is Cadence?
No
33–34 Qui souhaitez avoir tout le plaisir 8 Details
Analysis ID
Analyst
30
Is Cadence?
No
1–3 Venons au poinct, ma dame s'il vous plaist 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Dactyll
3–5 Venons au poinct, ma dame s'il vous plaist 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
5–6 Venons au poinct, ma dame s'il vous plaist 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
5–7 Venons au poinct, ma dame s'il vous plaist 2 Details
Analysis ID
Analyst
30
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
8–9 Venons au poinct, ma dame s'il vous plaist 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Formulas
Romanesca
8–9 Venons au poinct, ma dame s'il vous plaist 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
9–10 Venons au poinct, ma dame s'il vous plaist 3 Details
Analysis ID
Analyst
30
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
Voice Role (Below)
Tenor

Comments

T imitates S at 8 (below).
12–13 Venons au poinct, ma dame s'il vous plaist 3 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Formulas
Romanesca
12–13 Venons au poinct, ma dame s'il vous plaist 3 Details
Analysis ID
Analyst
30
Is Cadence?
No
14–17 Venons au poinct, ma dame s'il vous plaist 4 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Formulas
Romanesca
16–17 Venons au poinct, ma dame s'il vous plaist 4 Details
Analysis ID
Analyst
30
Is Cadence?
No
18–22 Venons au poinct, ma dame s'il vous plaist 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
NIM
Voice Role (Upper Voice 1 NIM)
Tenor
Voice Role (Lower Voice 1 NIM)
Bassus
Voice Role (Upper Voice 2 NIM)
Superius
Voice Role (Lower Voice 2 NIM)
Contratenor

Comments

2nd pair of NIM, S/Ct, also in 3rds.
22–23 Venons au poinct, ma dame s'il vous plaist 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
Text Treatment
Text Enjambment
22–25 Venons au poinct, ma dame s'il vous plaist 6 Details
Analysis ID
Analyst
30
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)
Tenor
Voice Role (@1 or @8)
Superius
Voice Role (@5)
Bassus
Voice Role (Above)
Superius
Voice Role (Below)
Bassus
24–25 Venons au poinct, ma dame s'il vous plaist 6 Details
Analysis ID
Analyst
30
Is Cadence?
No

Comments

Bassus E is the evasion.
25–28 Venons au poinct, ma dame s'il vous plaist 6 Details
Analysis ID
Analyst
30
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 (@5)
Tenor
Voice Role (Above)
Superius
Voice Role (Below)
Tenor
Other Counterpoint
Stretto Fuga

Comments

S imitates 6 above.
27–28 Venons au poinct, ma dame s'il vous plaist 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
28–30 Venons au poinct, ma dame s'il vous plaist 7 Details
Analysis ID
Analyst
30
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
Voice Role (Below)
Bassus

Comments

B imitates at 3 below.
33–34 Venons au poinct, ma dame s'il vous plaist 7 Details
Analysis ID
Analyst
30
Is Cadence?
No

Comments

Ct F is the evasion and T already cadenced on a B; T and B both drop out.
34–36 Venons au poinct, ma dame s'il vous plaist 7 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Contratenor
Voice Role (Above)
Contratenor

Comments

Ct nominally at 7 above but really the first note motivically could have been D, it's an altered imitation that is structurally at 4 above.
36–37 Venons au poinct, ma dame s'il vous plaist 7 Details
Analysis ID
Analyst
30
Is Cadence?
No
38–42 Venons au poinct, ma dame s'il vous plaist 8 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Da Capo
Earlier Phrase
1
Repeat, Exact or Varied?

Comments

Slight variation on phrase attack; staggered entry by S/T instead of all together as in Phrase 1.
2–3 O combien je suis fortuné 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Dactyll
3–4 O combien je suis fortuné 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
5–7 O combien je suis fortuné 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
7–8 O combien je suis fortuné 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
2–5 O combien je suis fortuné 3 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
5–9 O combien je suis fortuné 4 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
9–11 O combien je suis fortuné 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Dance
Other Formulas
Romanesca
11–12 O combien je suis fortuné 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
13–15 O combien je suis fortuné 6 Details
Analysis ID
Analyst
30
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
13–14 O combien je suis fortuné 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
15–17 O combien je suis fortuné 7 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
Other Formulas
Romanesca
16–18 O combien je suis fortuné 7 Details
Analysis ID
Analyst
30
Is Cadence?
No
22–25 O combien je suis fortuné 7 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
7
Repeat, Exact or Varied?

Comments

Phrase 7 music and text being repeated. Slight variation in text underlay.
18–21 O combien je suis fortuné 8 Details
Analysis ID
Analyst
30
Is Cadence?
No
21–22 O combien je suis fortuné 8 Details
Analysis ID
Analyst
30
Is Cadence?
No
25–28 O combien je suis fortuné 8 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
8
Repeat, Exact or Varied?

Comments

Phrase 8 text and music being repeated. Slight variation in text underlay around the final cadence.
1–2 Cherchant amour, Hymen vint apparoistre 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
2–4 Cherchant amour, Hymen vint apparoistre 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
3–4 Cherchant amour, Hymen vint apparoistre 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
1–4 Cherchant amour, Hymen vint apparoistre 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Dactyll

Comments

This is a correction to Analysis spreadsheet, line 1836.
4–7 Cherchant amour, Hymen vint apparoistre 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Tenor
Voice Role (@1 or @8)
Tenor
Other Formulas
Romanesca
Other Counterpoint
Stretto Fuga
7–8 Cherchant amour, Hymen vint apparoistre 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
8–9 Cherchant amour, Hymen vint apparoistre 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Formulas
Romanesca
9–10 Cherchant amour, Hymen vint apparoistre 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
1–4 Cherchant amour, Hymen vint apparoistre 3 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
4–10 Cherchant amour, Hymen vint apparoistre 4 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
11–12 Cherchant amour, Hymen vint apparoistre 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Simple
12–13 Cherchant amour, Hymen vint apparoistre 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
14–15 Cherchant amour, Hymen vint apparoistre 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
14–15 Cherchant amour, Hymen vint apparoistre 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
14–16 Cherchant amour, Hymen vint apparoistre 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Bassus
Voice Role (@5)
Bassus
Voice Role (Below)
Bassus
Text Treatment
Text Overlap
15–17 Cherchant amour, Hymen vint apparoistre 6 Details
Analysis ID
Analyst
30
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)
Tenor

Comments

Tenor last voice in PEn imitates @7 below Superius.
16–20 Cherchant amour, Hymen vint apparoistre 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
16–20 Cherchant amour, Hymen vint apparoistre 6 Details
Analysis ID
Analyst
30
Is Cadence?
No

Comments

Note this occurs with two other ACC 3rds (S/B) and 5/3 (S/Ct) also in mm. 16-20, but the radio buttons prevented me from tagging together.
19–20 Cherchant amour, Hymen vint apparoistre 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
21–25 Cherchant amour, Hymen vint apparoistre 7 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Da Capo
Earlier Phrase
1
Repeat, Exact or Varied?
25–31 Cherchant amour, Hymen vint apparoistre 8 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Da Capo
Earlier Phrase
2
Repeat, Exact or Varied?

Comments

The repetition is almost exact. There is a very slight difference in the two tenors: compare m.9, minim 2, to m.29, minim 4.
1–5 Cest oeil mignon, ce visage poly 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Dactyll
4–5 Cest oeil mignon, ce visage poly 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
6–9 Cest oeil mignon, ce visage poly 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
Other Formulas
Romanesca
8–9 Cest oeil mignon, ce visage poly 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
5–6 Cest oeil mignon, ce visage poly 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Simple

Comments

This is a correction to the Analysis spreadsheet, line 4880.
9–11 Cest oeil mignon, ce visage poly 3 Details
Analysis ID
Analyst
30
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
10–11 Cest oeil mignon, ce visage poly 3 Details
Analysis ID
Analyst
30
Is Cadence?
No

Comments

Occurs in the middle of a verse
11–13 Cest oeil mignon, ce visage poly 3 Details
Analysis ID
Analyst
30
Is Cadence?
No
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Superius
Voice Role (Above)
Superius

Comments

Superius imitation of Bassus is @ 9 above.
11–11 Cest oeil mignon, ce visage poly 3 Details
Analysis ID
Analyst
30
Is Cadence?
No
Text Treatment
Text Overlap
13–14 Cest oeil mignon, ce visage poly 3 Details
Analysis ID
Analyst
30
Is Cadence?
No
14–16 Cest oeil mignon, ce visage poly 4 Details
Analysis ID
Analyst
30
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
16–19 Cest oeil mignon, ce visage poly 4 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
PEn
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Contratenor
Voice Role (Dux 2)
Superius
Voice Role (Above)
Contratenor
Text Treatment
Text Overlap

Comments

Ct @ 7 above B, S @ 9 above Ct
20–21 Cest oeil mignon, ce visage poly 4 Details
Analysis ID
Analyst
30
Is Cadence?
No
22–23 Cest oeil mignon, ce visage poly 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Dance

Comments

This is a correction to Analysis spreadsheet, line 4893.
24–25 Cest oeil mignon, ce visage poly 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Dance

Comments

This is a correction to Analysis spreadsheet, line 4894.
25–28 Cest oeil mignon, ce visage poly 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
PEn
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
Stretto Fuga
27–28 Cest oeil mignon, ce visage poly 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
Text Treatment
Text Enjambment

Comments

Ct is tenorizans but not at the end of the line of text.
28–29 Cest oeil mignon, ce visage poly 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
Text Treatment
Text Overlap
29–30 Cest oeil mignon, ce visage poly 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
31–31 Cest oeil mignon, ce visage poly 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
31–33 Cest oeil mignon, ce visage poly 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
33–34 Cest oeil mignon, ce visage poly 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
34–35 Cest oeil mignon, ce visage poly 7 Details
Analysis ID
Analyst
30
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
35–37 Cest oeil mignon, ce visage poly 7 Details
Analysis ID
Analyst
30
Is Cadence?
No
38–38 Cest oeil mignon, ce visage poly 7 Details
Analysis ID
Analyst
30
Is Cadence?
No
38–40 Cest oeil mignon, ce visage poly 8 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Bassus
Voice Role (Comes 1)
Tenor
Voice Role (@4)
Tenor
Voice Role (Above)
Tenor
40–41 Cest oeil mignon, ce visage poly 8 Details
Analysis ID
Analyst
30
Is Cadence?
No
41–42 Cest oeil mignon, ce visage poly 8 Details
Analysis ID
Analyst
30
Is Cadence?
No
41–42 Cest oeil mignon, ce visage poly 8 Details
Analysis ID
Analyst
30
Is Cadence?
No
43–46 Cest oeil mignon, ce visage poly 9 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Dance
46–46 Cest oeil mignon, ce visage poly 9 Details
Analysis ID
Analyst
30
Is Cadence?
No
47–48 Cest oeil mignon, ce visage poly 10 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
49–50 Cest oeil mignon, ce visage poly 10 Details
Analysis ID
Analyst
30
Is Cadence?
No
51–54 Cest oeil mignon, ce visage poly 10 Details
Analysis ID
Analyst
30
Is Cadence?
No
54–55 Cest oeil mignon, ce visage poly 10 Details
Analysis ID
Analyst
30
Is Cadence?
No
1–3 L'enfant Amour n'a plus son arc estrangé 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger

Comments

Also HR Dactyl, Fauxbourdon
2–3 L'enfant Amour n'a plus son arc estrangé 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
3–5 L'enfant Amour n'a plus son arc estrangé 1 Details
Analysis ID
Analyst
30
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
5–6 L'enfant Amour n'a plus son arc estrangé 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
5–6 L'enfant Amour n'a plus son arc estrangé 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
6–8 L'enfant Amour n'a plus son arc estrangé 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
8–12 L'enfant Amour n'a plus son arc estrangé 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
10–12 L'enfant Amour n'a plus son arc estrangé 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
10–11 L'enfant Amour n'a plus son arc estrangé 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Formulas
Romanesca
1–6 L'enfant Amour n'a plus son arc estrangé 3 Details
Analysis ID
Analyst
30
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
30
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
13–15 L'enfant Amour n'a plus son arc estrangé 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Simple
16–18 L'enfant Amour n'a plus son arc estrangé 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
17–18 L'enfant Amour n'a plus son arc estrangé 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
18–20 L'enfant Amour n'a plus son arc estrangé 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
19–20 L'enfant Amour n'a plus son arc estrangé 6 Details
Analysis ID
Analyst
30
Is Cadence?
No

Comments

Tenor starts new phrase at the moment of cadence.
20–23 L'enfant Amour n'a plus son arc estrangé 6 Details
Analysis ID
Analyst
30
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
Text Treatment
Text Overlap
23–25 L'enfant Amour n'a plus son arc estrangé 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Formulas
Romanesca
24–25 L'enfant Amour n'a plus son arc estrangé 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
26–29 L'enfant Amour n'a plus son arc estrangé 7 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Dance
Other Formulas
Romanesca
29–31 L'enfant Amour n'a plus son arc estrangé 7 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
30–31 L'enfant Amour n'a plus son arc estrangé 7 Details
Analysis ID
Analyst
30
Is Cadence?
No
31–32 L'enfant Amour n'a plus son arc estrangé 8 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
33–35 L'enfant Amour n'a plus son arc estrangé 8 Details
Analysis ID
Analyst
30
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
Other Formulas
Romanesca
35–36 L'enfant Amour n'a plus son arc estrangé 8 Details
Analysis ID
Analyst
30
Is Cadence?
No
1–3 La volunté si longtemps endormie 1 Details
Analysis ID
Analyst
30
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
4–6 La volunté si longtemps endormie 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
PEn Tonal
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (Dux 2)
Contratenor
Voice Role (Comes 2)
Bassus
Voice Role (@1 or @8)
Tenor
Voice Role (Below)
Tenor

Comments

Ct imitates T @ unison and B imitates Ct @ 8 below.
7–8 La volunté si longtemps endormie 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
8–10 La volunté si longtemps endormie 2 Details
Analysis ID
Analyst
30
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 (Above)
Superius
Voice Role (Below)
Bassus
Other Counterpoint
Invertible Counterpoint

Comments

S imitates @5 above B.
9–10 La volunté si longtemps endormie 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
11–12 La volunté si longtemps endormie 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
1–7 La volunté si longtemps endormie 3 Details
Analysis ID
Analyst
30
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
30
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
13–14 La volunté si longtemps endormie 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Simple
15–16 La volunté si longtemps endormie 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
16–17 La volunté si longtemps endormie 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
17–17 La volunté si longtemps endormie 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
17–21 La volunté si longtemps endormie 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
20–21 La volunté si longtemps endormie 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
Text Treatment
Text Representation

Comments

Melismas and leaps, especially in Ct, represent "forte"
21–22 La volunté si longtemps endormie 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
21–28 La volunté si longtemps endormie 7 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Da Capo
Earlier Phrase
1
Repeat, Exact or Varied?
28–33 La volunté si longtemps endormie 8 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Da Capo
Earlier Phrase
2
Repeat, Exact or Varied?

Comments

Ct text overlaps with text of prior phrase, unlike between phrases 1 and 2.
1–3 Vive sera pour jamais n'estre morte 1 Details
Analysis ID
Analyst
30
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
3–6 Vive sera pour jamais n'estre morte 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
5–6 Vive sera pour jamais n'estre morte 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
Text Treatment
Text Representation

Comments

E-flat in bassus and melisma in superius are text representation of "morte"
6–7 Vive sera pour jamais n'estre morte 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
7–8 Vive sera pour jamais n'estre morte 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
8–9 Vive sera pour jamais n'estre morte 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Simple
9–10 Vive sera pour jamais n'estre morte 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
10–11 Vive sera pour jamais n'estre morte 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
1–6 Vive sera pour jamais n'estre morte 3 Details
Analysis ID
Analyst
30
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
30
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
30
Is Cadence?
No
Other Presentation Type
HR Stagger
11–12 Vive sera pour jamais n'estre morte 5 Details
Analysis ID
Analyst
30
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
12–14 Vive sera pour jamais n'estre morte 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Formulas
Romanesca
14–15 Vive sera pour jamais n'estre morte 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
Text Treatment
Text Enjambment
14–16 Vive sera pour jamais n'estre morte 6 Details
Analysis ID
Analyst
30
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

Comments

Note that Ct/B is also ACC 5/3 here.
14–14 Vive sera pour jamais n'estre morte 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
Text Treatment
Text Overlap
17–18 Vive sera pour jamais n'estre morte 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Formulas
Romanesca
18–19 Vive sera pour jamais n'estre morte 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
19–23 Vive sera pour jamais n'estre morte 7 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Da Capo
Earlier Phrase
1
Repeat, Exact or Varied?

Comments

mm. 4-5 compressed into one bar, m. 22.
23–28 Vive sera pour jamais n'estre morte 8 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Da Capo
Earlier Phrase
2
Repeat, Exact or Varied?
2–3 Mars et Amour font ensemble alliance 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
3–5 Mars et Amour font ensemble alliance 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
5–6 Mars et Amour font ensemble alliance 1 Details
Analysis ID
Analyst
30
Is Cadence?
No

Comments

S cadenced too early.
6–10 Mars et Amour font ensemble alliance 2 Details
Analysis ID
Analyst
30
Is Cadence?
No

Comments

Mm. 7-9 also has some ACC 3rds in Ct/T.
10–11 Mars et Amour font ensemble alliance 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
12–17 Mars et Amour font ensemble alliance 3 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?
17–22 Mars et Amour font ensemble alliance 4 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
23–24 Mars et Amour font ensemble alliance 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Dactyll
24–25 Mars et Amour font ensemble alliance 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger

Comments

Note T/B also has ACC 5/3 here.
25–26 Mars et Amour font ensemble alliance 5 Details
Analysis ID
Analyst
30
Is Cadence?
No

Comments

Doubtful because there is significant overlap with the following phrase.
26–27 Mars et Amour font ensemble alliance 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
Text Treatment
Text Overlap
26–28 Mars et Amour font ensemble alliance 6 Details
Analysis ID
Analyst
30
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

Comments

Superius is @ 8 above.
28–29 Mars et Amour font ensemble alliance 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
30–31 Mars et Amour font ensemble alliance 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
31–32 Mars et Amour font ensemble alliance 6 Details
Analysis ID
Analyst
30
Is Cadence?
No

Comments

Bassus drops out.
34–35 Mars et Amour font ensemble alliance 7 Details
Analysis ID
Analyst
30
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
34–36 Mars et Amour font ensemble alliance 7 Details
Analysis ID
Analyst
30
Is Cadence?
No
36–38 Mars et Amour font ensemble alliance 7 Details
Analysis ID
Analyst
30
Is Cadence?
No
37–38 Mars et Amour font ensemble alliance 7 Details
Analysis ID
Analyst
30
Is Cadence?
No

Comments

Overlap with next phrase
38–38 Mars et Amour font ensemble alliance 8 Details
Analysis ID
Analyst
30
Is Cadence?
No
Text Treatment
Text Overlap
38–42 Mars et Amour font ensemble alliance 8 Details
Analysis ID
Analyst
30
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
42–44 Mars et Amour font ensemble alliance 8 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
44–45 Mars et Amour font ensemble alliance 8 Details
Analysis ID
Analyst
30
Is Cadence?
No
27–28 Comme l'aymant par sa vertu latente 4 Details
Analysis ID
Analyst
30
Is Cadence?
No
46–51 Mars et Amour font ensemble alliance 9 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Da Capo
Earlier Phrase
1
Repeat, Exact or Varied?
51–56 Mars et Amour font ensemble alliance 10 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Da Capo
Earlier Phrase
2
Repeat, Exact or Varied?

Comments

Original material almost exactly repeated but Ct adds passing/neighbor tones in m. 55 (compare with m. 10 and m. 21).
1–3 Si la promesse m'est tenue 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger

Comments

Also HR Dactyll
1–3 Si la promesse m'est tenue 1 Details
Analysis ID
Analyst
30
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
1–4 Si la promesse m'est tenue 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Formulas
Romanesca
3–4 Si la promesse m'est tenue 1 Details
Analysis ID
Analyst
30
Is Cadence?
No

Comments

Bass drops out.
5–7 Si la promesse m'est tenue 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Tenor
Voice Role (@4)
Tenor
Voice Role (Below)
Tenor
Other Counterpoint
Stretto fuga
6–7 Si la promesse m'est tenue 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
8–10 Si la promesse m'est tenue 3 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Formulas
Romanesca
10–13 Si la promesse m'est tenue 3 Details
Analysis ID
Analyst
30
Is Cadence?
No
12–14 Si la promesse m'est tenue 3 Details
Analysis ID
Analyst
30
Is Cadence?
No

Comments

Ct and B drop out and B enters on a G immediately after cadence
13–18 Si la promesse m'est tenue 4 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Da Capo
Earlier Phrase
1
Repeat, Exact or Varied?

Comments

B and Ct altered to include extra harmony; first two bars of the present phrase are also based on the opening material of the piece, then lead into the actual repeat of phrase 1
1–3 L'autre jour jouer m'aloye/ Parmi ces champs 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
2–2 L'autre jour jouer m'aloye/ Parmi ces champs 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
3–4 L'autre jour jouer m'aloye/ Parmi ces champs 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
4–4 L'autre jour jouer m'aloye/ Parmi ces champs 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
4–8 L'autre jour jouer m'aloye/ Parmi ces champs 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
Text Treatment
Text Overlap
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?

Comments

First four minims of this phrase a bit different and the no cadence is different.
7–8 L'autre jour jouer m'aloye/ Parmi ces champs 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
8–10 L'autre jour jouer m'aloye/ Parmi ces champs 3 Details
Analysis ID
Analyst
30
Is Cadence?
No
Text Treatment
Text Overlap
10–10 L'autre jour jouer m'aloye/ Parmi ces champs 3 Details
Analysis ID
Analyst
30
Is Cadence?
No
Text Treatment
Text Enjambment
10–15 L'autre jour jouer m'aloye/ Parmi ces champs 4 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
3
Repeat, Exact or Varied?

Comments

Phrase 3 material is slightly varied at the end of m. 12, then in 13-15 there is new material as the Ct finishes saying this line of text.
13–14 L'autre jour jouer m'aloye/ Parmi ces champs 4 Details
Analysis ID
Analyst
30
Is Cadence?
No
Text Treatment
Text Enjambment
14–18 L'autre jour jouer m'aloye/ Parmi ces champs 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Contratenor
Voice Role (@1 or @8)
Contratenor
17–18 L'autre jour jouer m'aloye/ Parmi ces champs 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
18–22 L'autre jour jouer m'aloye/ Parmi ces champs 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
Text Treatment
Text Overlap
Repeat Kind
Direct Repeat
Earlier Phrase
5
Repeat, Exact or Varied?

Comments

Phrase 5 just repeats itself
1–6 Comme l'aymant par sa vertu latente 1 Details
Analysis ID
Analyst
30
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)
Superius
Voice Role (@5)
Contratenor
Voice Role (Above)
Contratenor
Voice Role (Below)
Tenor

Comments

S imitates at 8 above, T at 8 below. An entire breve between PEn entries characterizes the imitative strategy in the whole piece.
7–8 Comme l'aymant par sa vertu latente 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
8–15 Comme l'aymant par sa vertu latente 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
1
Repeat, Exact or Varied?

Comments

This repeat of Phrase 1 material has some notes taken out, but also some extra bits of counterpoint thrown in.
15–17 Comme l'aymant par sa vertu latente 3 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
16–17 Comme l'aymant par sa vertu latente 3 Details
Analysis ID
Analyst
30
Is Cadence?
No
17–20 Comme l'aymant par sa vertu latente 3 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
NIM
Voice Role (Upper Voice 1 NIM)
Tenor
Voice Role (Lower Voice 1 NIM)
Bassus
Voice Role (Upper Voice 2 NIM)
Superius
Voice Role (Lower Voice 2 NIM)
Contratenor

Comments

Both pairs of NIM voices are in 3rds.
19–21 Comme l'aymant par sa vertu latente 3 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Bassus
Voice Role (@5)
Bassus
Voice Role (Below)
Bassus
Other Counterpoint
Stretto Fuga
21–22 Comme l'aymant par sa vertu latente 3 Details
Analysis ID
Analyst
30
Is Cadence?
No

Comments

Bass F is the evasion.
22–23 Comme l'aymant par sa vertu latente 4 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Contratenor
Voice Role (@1 or @8)
Contratenor
23–24 Comme l'aymant par sa vertu latente 4 Details
Analysis ID
Analyst
30
Is Cadence?
No
24–26 Comme l'aymant par sa vertu latente 4 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
24–26 Comme l'aymant par sa vertu latente 4 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Tenor
Voice Role (Comes 1)
Bassus
Voice Role (@5)
Bassus
Voice Role (Below)
Bassus
Other Counterpoint
Stretto Fuga
28–32 Comme l'aymant par sa vertu latente 5 Details
Analysis ID
Analyst
30
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)
Bassus
Voice Role (Above)
Superius

Comments

T imitates at unison, S at 8 above.
31–43 Comme l'aymant par sa vertu latente 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Da Capo
Earlier Phrase
1
Repeat, Exact or Varied?

Comments

Quite a few different details, but still obviously a repeat of the Phrase 1 material.
1–6 Quelle prison au monde est plus cruelle 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Simple
5–6 Quelle prison au monde est plus cruelle 1 Details
Analysis ID
Analyst
30
Is Cadence?
No
6–8 Quelle prison au monde est plus cruelle 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
FI
Voice Role (Dux 1)
Superius
Voice Role (Comes 1)
Bassus
Voice Role (@1 or @8)
Bassus
Voice Role (Below)
Bassus
Other Formulas
Romanesca
6–8 Quelle prison au monde est plus cruelle 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
9–10 Quelle prison au monde est plus cruelle 2 Details
Analysis ID
Analyst
30
Is Cadence?
No
1–6 Quelle prison au monde est plus cruelle 3 Details
Analysis ID
Analyst
30
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
30
Is Cadence?
No
Repeat Kind
Direct Repeat
Earlier Phrase
2
Repeat, Exact or Varied?
11–12 Quelle prison au monde est plus cruelle 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Simple
Other Formulas
Romanesca
13–14 Quelle prison au monde est plus cruelle 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Simple
Other Formulas
Romanesca
14–16 Quelle prison au monde est plus cruelle 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Presentation Type
HR Stagger
14–17 Quelle prison au monde est plus cruelle 5 Details
Analysis ID
Analyst
30
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
16–16 Quelle prison au monde est plus cruelle 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
17–17 Quelle prison au monde est plus cruelle 5 Details
Analysis ID
Analyst
30
Is Cadence?
No
17–19 Quelle prison au monde est plus cruelle 6 Details
Analysis ID
Analyst
30
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)
Superius
Voice Role (Above)
Superius

Comments

B is @ 5 below.
19–21 Quelle prison au monde est plus cruelle 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
Other Formulas
Romanesca
20–21 Quelle prison au monde est plus cruelle 6 Details
Analysis ID
Analyst
30
Is Cadence?
No
22–27 Quelle prison au monde est plus cruelle 7 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Da Capo
Earlier Phrase
1
Repeat, Exact or Varied?
27–31 Quelle prison au monde est plus cruelle 8 Details
Analysis ID
Analyst
30
Is Cadence?
No
Repeat Kind
Da Capo
Earlier Phrase
2
Repeat, Exact or Varied?
6–7 Puisque tu veulx mettre fin à ta plaincte 1 Details
Analysis ID
Analyst
30
Is Cadence?
No