Quinn, Patrick

Analyses

Measures	Piece	Phrase Number
1–3	Qui souhaitez avoir tout le plaisir	1	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Dactyll
4–6	Qui souhaitez avoir tout le plaisir	1	Details
Analysis ID Analyst 31 Is Cadence? No
6–7	Qui souhaitez avoir tout le plaisir	1	Details
Analysis ID Analyst 31 Is Cadence? No Comments Sense of cadence on D in measures 4-5, however no LT in Tenor, interrupted by Ct stating next line while also evading the root by going 2>3. Very weak, but still present.
7–8	Qui souhaitez avoir tout le plaisir	2	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Tenor Voice Role (Comes 1) Bassus Voice Role (@1 or @8) Tenor Voice Role (Below) Bassus Comments Also an instance of HR stagger with the T entering early
10–11	Qui souhaitez avoir tout le plaisir	2	Details
Analysis ID Analyst 31 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 Stretto Fuga, Invertible Counterpoint
12–13	Qui souhaitez avoir tout le plaisir	2	Details
Analysis ID Analyst 31 Is Cadence? No
1–7	Qui souhaitez avoir tout le plaisir	3	Details
Analysis ID Analyst 31 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 31 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 31 Is Cadence? No Text Treatment Text Declamation
13–13	Qui souhaitez avoir tout le plaisir	5	Details
Analysis ID Analyst 31 Is Cadence? No Text Treatment Text Pause
15–16	Qui souhaitez avoir tout le plaisir	5	Details
Analysis ID Analyst 31 Is Cadence? No
16–17	Qui souhaitez avoir tout le plaisir	6	Details
Analysis ID Analyst 31 Is Cadence? No Text Treatment Text Overlap
17–19	Qui souhaitez avoir tout le plaisir	6	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Tenor Voice Role (Comes 1) Superius Voice Role (@1 or @8) Superius Voice Role (Above) Superius Comments T/B have syncopation in middle (m. 18) which provides a moment of break between alternating 3/8
19–20	Qui souhaitez avoir tout le plaisir	6	Details
Analysis ID Analyst 31 Is Cadence? No Comments Ct/B in 3/8
20–22	Qui souhaitez avoir tout le plaisir	6	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca Comments Not quite romanesca because Bass resolves up to E instead of down to A, making it a quasi deceptive Romanesca
21–22	Qui souhaitez avoir tout le plaisir	6	Details
Analysis ID Analyst 31 Is Cadence? No
23–23	Qui souhaitez avoir tout le plaisir	7	Details
Analysis ID Analyst 31 Is Cadence? No Text Treatment Text Pause
23–25	Qui souhaitez avoir tout le plaisir	7	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca Text Treatment Text Declamation Comments Ct/B in 3/8
25–26	Qui souhaitez avoir tout le plaisir	7	Details
Analysis ID Analyst 31 Is Cadence? No
26–27	Qui souhaitez avoir tout le plaisir	8	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments Tenor preceeds other voices
27–30	Qui souhaitez avoir tout le plaisir	8	Details
Analysis ID Analyst 31 Is Cadence? No
30–31	Qui souhaitez avoir tout le plaisir	8	Details
Analysis ID Analyst 31 Is Cadence? No Comments syncopation in S/Ct gives hint of parallel 3rds
32–34	Qui souhaitez avoir tout le plaisir	8	Details
Analysis ID Analyst 31 Is Cadence? No Comments Measure 33 has cross relation B-flat in Bass directly below a B(natural) in Ct
33–34	Qui souhaitez avoir tout le plaisir	8	Details
Analysis ID Analyst 31 Is Cadence? No
1–2	Venons au poinct, ma dame s'il vous plaist	1	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Dactyll Other Formulas Romanesca
2–3	Venons au poinct, ma dame s'il vous plaist	1	Details
Analysis ID Analyst 31 Is Cadence? No
4–5	Venons au poinct, ma dame s'il vous plaist	1	Details
Analysis ID Analyst 31 Is Cadence? No
5–7	Venons au poinct, ma dame s'il vous plaist	2	Details
Analysis ID Analyst 31 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
7–7	Venons au poinct, ma dame s'il vous plaist	2	Details
Analysis ID Analyst 31 Is Cadence? No
7–9	Venons au poinct, ma dame s'il vous plaist	2	Details
Analysis ID Analyst 31 Is Cadence? No Comments S/B in 3/8 one tone away from 4 notes descending in Romanesca pattern
8–9	Venons au poinct, ma dame s'il vous plaist	2	Details
Analysis ID Analyst 31 Is Cadence? No
9–10	Venons au poinct, ma dame s'il vous plaist	3	Details
Analysis ID Analyst 31 Is Cadence? No
9–11	Venons au poinct, ma dame s'il vous plaist	3	Details
Analysis ID Analyst 31 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 Other Counterpoint Invertible Counterpoint, Stretto Fuga Comments Tenor is an octave below the soprano
10–11	Venons au poinct, ma dame s'il vous plaist	3	Details
Analysis ID Analyst 31 Is Cadence? No
10–12	Venons au poinct, ma dame s'il vous plaist	3	Details
Analysis ID Analyst 31 Is Cadence? No Comments S/B in 3/8
12–13	Venons au poinct, ma dame s'il vous plaist	3	Details
Analysis ID Analyst 31 Is Cadence? No
15–16	Venons au poinct, ma dame s'il vous plaist	4	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca
16–17	Venons au poinct, ma dame s'il vous plaist	4	Details
Analysis ID Analyst 31 Is Cadence? No
17–22	Venons au poinct, ma dame s'il vous plaist	5	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type ID 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 Measures 17-20 have parallel 3rds in Tenor and Bass, but don't stay parallel as long as S/Ct
20–20	Venons au poinct, ma dame s'il vous plaist	5	Details
Analysis ID Analyst 31 Is Cadence? No
20–21	Venons au poinct, ma dame s'il vous plaist	5	Details
Analysis ID Analyst 31 Is Cadence? No Comments Ct/B in 3/8
21–22	Venons au poinct, ma dame s'il vous plaist	5	Details
Analysis ID Analyst 31 Is Cadence? No Text Treatment Text Enjambment Comments S and Ct have parallel 6ths on different lines of text
21–22	Venons au poinct, ma dame s'il vous plaist	6	Details
Analysis ID Analyst 31 Is Cadence? No Text Treatment Text Overlap Comments S/B in 3/8
22–24	Venons au poinct, ma dame s'il vous plaist	6	Details
Analysis ID Analyst 31 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 Other Counterpoint Stretto Fuga, Invertible Counterpoint
23–24	Venons au poinct, ma dame s'il vous plaist	6	Details
Analysis ID Analyst 31 Is Cadence? No
23–27	Venons au poinct, ma dame s'il vous plaist	6	Details
Analysis ID Analyst 31 Is Cadence? No Comments moment of parallel 3rds during 3/8 in Ct/B
24–27	Venons au poinct, ma dame s'il vous plaist	6	Details
Analysis ID Analyst 31 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 (Above) Superius Voice Role (Below) Tenor Comments T enters at 6th below Ct and S enters 6th above T
25–27	Venons au poinct, ma dame s'il vous plaist	6	Details
Analysis ID Analyst 31 Is Cadence? No
26–27	Venons au poinct, ma dame s'il vous plaist	6	Details
Analysis ID Analyst 31 Is Cadence? No
27–28	Venons au poinct, ma dame s'il vous plaist	6	Details
Analysis ID Analyst 31 Is Cadence? No
28–29	Venons au poinct, ma dame s'il vous plaist	7	Details
Analysis ID Analyst 31 Is Cadence? No
30–31	Venons au poinct, ma dame s'il vous plaist	7	Details
Analysis ID Analyst 31 Is Cadence? No
33–34	Venons au poinct, ma dame s'il vous plaist	7	Details
Analysis ID Analyst 31 Is Cadence? No
35–36	Venons au poinct, ma dame s'il vous plaist	7	Details
Analysis ID Analyst 31 Is Cadence? No
37–38	Venons au poinct, ma dame s'il vous plaist	8	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca Text Treatment Text Declamation Comments S/B in 3/8
39–40	Venons au poinct, ma dame s'il vous plaist	8	Details
Analysis ID Analyst 31 Is Cadence? No
40–41	Venons au poinct, ma dame s'il vous plaist	8	Details
Analysis ID Analyst 31 Is Cadence? No
1–2	O combien je suis fortuné	1	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Simple Text Treatment Text Declamation
2–2	O combien je suis fortuné	1	Details
Analysis ID Analyst 31 Is Cadence? No
2–4	O combien je suis fortuné	1	Details
Analysis ID Analyst 31 Is Cadence? No
3–4	O combien je suis fortuné	1	Details
Analysis ID Analyst 31 Is Cadence? No
4–5	O combien je suis fortuné	2	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments Ct early
4–6	O combien je suis fortuné	2	Details
Analysis ID Analyst 31 Is Cadence? No
6–7	O combien je suis fortuné	2	Details
Analysis ID Analyst 31 Is Cadence? No Comments T/B have consecutive octaves
7–8	O combien je suis fortuné	2	Details
Analysis ID Analyst 31 Is Cadence? No Comments Previous Measure 4 cadence on D
1–4	O combien je suis fortuné	3	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
4–8	O combien je suis fortuné	4	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
9–9	O combien je suis fortuné	5	Details
Analysis ID Analyst 31 Is Cadence? No Text Treatment Text Pause
9–11	O combien je suis fortuné	5	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Simple Other Formulas Romanesca Comments 3/8 in S/B
10–12	O combien je suis fortuné	5	Details
Analysis ID Analyst 31 Is Cadence? No
11–12	O combien je suis fortuné	5	Details
Analysis ID Analyst 31 Is Cadence? No
13–13	O combien je suis fortuné	6	Details
Analysis ID Analyst 31 Is Cadence? No Comments Consecutive 5ths Ct/B, no sign of parallel thirds or 3/5, which could be from the part writing issues
14–18	O combien je suis fortuné	7	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Repeat Kind Direct Repeat Earlier Phrase 5 Repeat, Exact or Varied? Comments Ct stagger late, which repeats phrase 5 with filled in passing tones
14–16	O combien je suis fortuné	7	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca Comments S/B in 3/8
21–24	O combien je suis fortuné	7	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Earlier Phrase 7 Repeat, Exact or Varied? Comments Ct staggers early instead of late on repeat, shifting text to another note, but all music is exact repeat
17–18	O combien je suis fortuné	8	Details
Analysis ID Analyst 31 Is Cadence? No Text Treatment Text Overlap Comments Ct early
18–19	O combien je suis fortuné	8	Details
Analysis ID Analyst 31 Is Cadence? No Comments S/B in 3/8, consecutive 5ths Ct/B
19–20	O combien je suis fortuné	8	Details
Analysis ID Analyst 31 Is Cadence? No
20–21	O combien je suis fortuné	8	Details
Analysis ID Analyst 31 Is Cadence? No Comments No LT, No Bass
27–27	O combien je suis fortuné	8	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 8 Repeat, Exact or Varied? Comments Bass gives final root instead of incomplete
1–2	Cherchant amour, Hymen vint apparoistre	1	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Dactyll Comments dactyl 4+7, S/B in 3/8
2–4	Cherchant amour, Hymen vint apparoistre	1	Details
Analysis ID Analyst 31 Is Cadence? No Comments measure 3 has one parallel 3 in T/B
3–4	Cherchant amour, Hymen vint apparoistre	1	Details
Analysis ID Analyst 31 Is Cadence? No
4–6	Cherchant amour, Hymen vint apparoistre	2	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Bassus Voice Role (Comes 1) Tenor Text Treatment Text Overlap
5–6	Cherchant amour, Hymen vint apparoistre	2	Details
Analysis ID Analyst 31 Is Cadence? No Comments S/T in 3/8
6–7	Cherchant amour, Hymen vint apparoistre	2	Details
Analysis ID Analyst 31 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 Comments S/T in 3/8
7–8	Cherchant amour, Hymen vint apparoistre	2	Details
Analysis ID Analyst 31 Is Cadence? No
9–10	Cherchant amour, Hymen vint apparoistre	2	Details
Analysis ID Analyst 31 Is Cadence? No Comments measure 10 is half as long as a regular measure
8–9	Cherchant amour, Hymen vint apparoistre	2	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca
1–6	Cherchant amour, Hymen vint apparoistre	3	Details
Analysis ID Analyst 31 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 31 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 31 Is Cadence? No Comments S/B in 3/8, has all the qualities of a romanesca (3/5, parallel 6, 3/8), but by definition, isn't romanesca
12–13	Cherchant amour, Hymen vint apparoistre	5	Details
Analysis ID Analyst 31 Is Cadence? No
14–14	Cherchant amour, Hymen vint apparoistre	5	Details
Analysis ID Analyst 31 Is Cadence? No
16–17	Cherchant amour, Hymen vint apparoistre	5	Details
Analysis ID Analyst 31 Is Cadence? No Comments also has 3/5 in S/Ct
17–18	Cherchant amour, Hymen vint apparoistre	5	Details
Analysis ID Analyst 31 Is Cadence? No
14–15	Cherchant amour, Hymen vint apparoistre	6	Details
Analysis ID Analyst 31 Is Cadence? No Text Treatment Text Overlap Comments tenor early
14–17	Cherchant amour, Hymen vint apparoistre	6	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type FI Voice Role (Upper Voice 1 NIM) Tenor Voice Role (Lower Voice 1 NIM) Bassus
15–17	Cherchant amour, Hymen vint apparoistre	6	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Superius
19–20	Cherchant amour, Hymen vint apparoistre	6	Details
Analysis ID Analyst 31 Is Cadence? No
18–20	Cherchant amour, Hymen vint apparoistre	6	Details
Analysis ID Analyst 31 Is Cadence? No
21–26	Cherchant amour, Hymen vint apparoistre	7	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
30–31	Cherchant amour, Hymen vint apparoistre	8	Details
Analysis ID Analyst 31 Is Cadence? No Repeat, Exact or Varied?
1–4	Cest oeil mignon, ce visage poly	1	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Dactyll
2–4	Cest oeil mignon, ce visage poly	1	Details
Analysis ID Analyst 31 Is Cadence? No
4–5	Cest oeil mignon, ce visage poly	1	Details
Analysis ID Analyst 31 Is Cadence? No
2–3	Cest oeil mignon, ce visage poly	1	Details
Analysis ID Analyst 31 Is Cadence? No
5–6	Cest oeil mignon, ce visage poly	2	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca Comments Romanesca present with decent in S, but Bass parallel's S 3/5/3/3 to evade absolute Romanesca
7–9	Cest oeil mignon, ce visage poly	2	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments 3/8 in Ct/B, HR Stagger T early actually occurs beginning m 6
8–9	Cest oeil mignon, ce visage poly	2	Details
Analysis ID Analyst 31 Is Cadence? No
9–11	Cest oeil mignon, ce visage poly	3	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Tenor Voice Role (Comes 1) Superius
11–13	Cest oeil mignon, ce visage poly	3	Details
Analysis ID Analyst 31 Is Cadence? No
11–14	Cest oeil mignon, ce visage poly	3	Details
Analysis ID Analyst 31 Is Cadence? No Comments T/B in 3/5/8
13–14	Cest oeil mignon, ce visage poly	3	Details
Analysis ID Analyst 31 Is Cadence? No
14–16	Cest oeil mignon, ce visage poly	4	Details
Analysis ID Analyst 31 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) Tenor
15–16	Cest oeil mignon, ce visage poly	4	Details
Analysis ID Analyst 31 Is Cadence? No
20–21	Cest oeil mignon, ce visage poly	4	Details
Analysis ID Analyst 31 Is Cadence? No
22–24	Cest oeil mignon, ce visage poly	5	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Dance Text Treatment Text Pause Comments txt pause m 23
24–25	Cest oeil mignon, ce visage poly	5	Details
Analysis ID Analyst 31 Is Cadence? No Text Treatment Text Representation Comments NDLT Cadence at question in text!
22–26	Cest oeil mignon, ce visage poly	5	Details
Analysis ID Analyst 31 Is Cadence? No Comments S/B in 3/8 w/ parallel 3 into m 23
25–27	Cest oeil mignon, ce visage poly	5	Details
Analysis ID Analyst 31 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 Invertible Counterpoint, Stretto Fuga Comments Ct also has anticipatory entry.
30–32	Cest oeil mignon, ce visage poly	6	Details
Analysis ID Analyst 31 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
31–31	Cest oeil mignon, ce visage poly	6	Details
Analysis ID Analyst 31 Is Cadence? No
31–33	Cest oeil mignon, ce visage poly	6	Details
Analysis ID Analyst 31 Is Cadence? No
33–34	Cest oeil mignon, ce visage poly	6	Details
Analysis ID Analyst 31 Is Cadence? No
34–35	Cest oeil mignon, ce visage poly	7	Details
Analysis ID Analyst 31 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 Comments also parallel 3rds S/T
36–37	Cest oeil mignon, ce visage poly	7	Details
Analysis ID Analyst 31 Is Cadence? No
37–37	Cest oeil mignon, ce visage poly	7	Details
Analysis ID Analyst 31 Is Cadence? No
38–38	Cest oeil mignon, ce visage poly	7	Details
Analysis ID Analyst 31 Is Cadence? No Comments ficta for T, S and Ct no resolution
38–39	Cest oeil mignon, ce visage poly	8	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments T late
40–41	Cest oeil mignon, ce visage poly	8	Details
Analysis ID Analyst 31 Is Cadence? No
41–42	Cest oeil mignon, ce visage poly	8	Details
Analysis ID Analyst 31 Is Cadence? No
41–42	Cest oeil mignon, ce visage poly	8	Details
Analysis ID Analyst 31 Is Cadence? No
43–46	Cest oeil mignon, ce visage poly	9	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Dance
43–44	Cest oeil mignon, ce visage poly	9	Details
Analysis ID Analyst 31 Is Cadence? No Comments S/B in 3/8
45–46	Cest oeil mignon, ce visage poly	9	Details
Analysis ID Analyst 31 Is Cadence? No Comments S ficta
47–48	Cest oeil mignon, ce visage poly	10	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments S early
49–51	Cest oeil mignon, ce visage poly	10	Details
Analysis ID Analyst 31 Is Cadence? No Comments 8/3/5 in S/B, 5/8/3 in T/B
51–53	Cest oeil mignon, ce visage poly	10	Details
Analysis ID Analyst 31 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 (@1 or @8) Tenor Voice Role (Above) Tenor Voice Role (Below) Contratenor Text Treatment Text Declamation Comments Ct @ 6 below S
52–53	Cest oeil mignon, ce visage poly	10	Details
Analysis ID Analyst 31 Is Cadence? No
53–53	Cest oeil mignon, ce visage poly	10	Details
Analysis ID Analyst 31 Is Cadence? No
52–54	Cest oeil mignon, ce visage poly	10	Details
Analysis ID Analyst 31 Is Cadence? No
54–55	Cest oeil mignon, ce visage poly	10	Details
Analysis ID Analyst 31 Is Cadence? No
1–3	L'enfant Amour n'a plus son arc estrangé	1	Details
Analysis ID Analyst 31 Is Cadence? No Comments m 2 has parallel 3's in middle of 3/5
3–5	L'enfant Amour n'a plus son arc estrangé	1	Details
Analysis ID Analyst 31 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 31 Is Cadence? No
3–3	Vive sera pour jamais n'estre morte	1	Details
Analysis ID Analyst 31 Is Cadence? No
6–7	L'enfant Amour n'a plus son arc estrangé	2	Details
Analysis ID Analyst 31 Is Cadence? No
7–8	L'enfant Amour n'a plus son arc estrangé	2	Details
Analysis ID Analyst 31 Is Cadence? No
8–9	L'enfant Amour n'a plus son arc estrangé	2	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments T late, T/B have 3/5, but the Romanesca descent in S is finished before T/B 3/5 is finished, due to late T entry, so no Romanesca
9–10	L'enfant Amour n'a plus son arc estrangé	2	Details
Analysis ID Analyst 31 Is Cadence? No Comments also parallel 3 in Ct/T with a momoment of unison in m 9
11–12	L'enfant Amour n'a plus son arc estrangé	2	Details
Analysis ID Analyst 31 Is Cadence? No Comments phrygian D cadence into m 11 with Ct/B
1–6	L'enfant Amour n'a plus son arc estrangé	3	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
6–13	L'enfant Amour n'a plus son arc estrangé	4	Details
Analysis ID Analyst 31 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 31 Is Cadence? No Text Treatment Text Pause Comments also text pause in m 12 with phrase 2 into phrase 3
13–14	L'enfant Amour n'a plus son arc estrangé	5	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Simple
15–17	L'enfant Amour n'a plus son arc estrangé	5	Details
Analysis ID Analyst 31 Is Cadence? No
17–18	L'enfant Amour n'a plus son arc estrangé	5	Details
Analysis ID Analyst 31 Is Cadence? No
18–19	L'enfant Amour n'a plus son arc estrangé	6	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments Ct late
20–22	L'enfant Amour n'a plus son arc estrangé	6	Details
Analysis ID Analyst 31 Is Cadence? No
19–20	L'enfant Amour n'a plus son arc estrangé	6	Details
Analysis ID Analyst 31 Is Cadence? No Comments Bass waits to resolve and comes in on E, resolution elided with beginning of next text line
21–21	L'enfant Amour n'a plus son arc estrangé	6	Details
Analysis ID Analyst 31 Is Cadence? No
20–23	L'enfant Amour n'a plus son arc estrangé	6	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Superius Voice Role (Comes 1) Contratenor Voice Role (@4) Contratenor Voice Role (Below) Contratenor
23–24	L'enfant Amour n'a plus son arc estrangé	6	Details
Analysis ID Analyst 31 Is Cadence? No
23–25	L'enfant Amour n'a plus son arc estrangé	6	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca Comments rhythm varies 3/5
24–25	L'enfant Amour n'a plus son arc estrangé	6	Details
Analysis ID Analyst 31 Is Cadence? No
26–29	L'enfant Amour n'a plus son arc estrangé	7	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Dance Comments voices are a palindrome
27–29	L'enfant Amour n'a plus son arc estrangé	7	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca Comments 3/8 in S/B
30–31	L'enfant Amour n'a plus son arc estrangé	7	Details
Analysis ID Analyst 31 Is Cadence? No
31–32	L'enfant Amour n'a plus son arc estrangé	8	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments Ct early
32–33	L'enfant Amour n'a plus son arc estrangé	8	Details
Analysis ID Analyst 31 Is Cadence? No
33–34	L'enfant Amour n'a plus son arc estrangé	8	Details
Analysis ID Analyst 31 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 31 Is Cadence? No
1–2	La volunté si longtemps endormie	1	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments B late, m2 in Ct downbeat voice leading avoids direct parallel 3
3–4	La volunté si longtemps endormie	1	Details
Analysis ID Analyst 31 Is Cadence? No
4–6	La volunté si longtemps endormie	1	Details
Analysis ID Analyst 31 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) Contratenor Voice Role (Above) Contratenor Voice Role (Below) Bassus Comments Ct @ 1 with T, B @ 8 down from Ct
5–5	La volunté si longtemps endormie	1	Details
Analysis ID Analyst 31 Is Cadence? No
6–6	La volunté si longtemps endormie	1	Details
Analysis ID Analyst 31 Is Cadence? No
5–6	La volunté si longtemps endormie	1	Details
Analysis ID Analyst 31 Is Cadence? No
6–7	La volunté si longtemps endormie	1	Details
Analysis ID Analyst 31 Is Cadence? No Comments Ct 2-3
10–10	La volunté si longtemps endormie	2	Details
Analysis ID Analyst 31 Is Cadence? No
10–11	La volunté si longtemps endormie	2	Details
Analysis ID Analyst 31 Is Cadence? No
11–11	La volunté si longtemps endormie	2	Details
Analysis ID Analyst 31 Is Cadence? No
11–12	La volunté si longtemps endormie	2	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca
11–12	La volunté si longtemps endormie	2	Details
Analysis ID Analyst 31 Is Cadence? No
1–7	La volunté si longtemps endormie	3	Details
Analysis ID Analyst 31 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 31 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 31 Is Cadence? No Text Treatment Text Pause
13–15	La volunté si longtemps endormie	5	Details
Analysis ID Analyst 31 Is Cadence? No Comments not ROM b/c descent and harmonic rhythm not aligned
13–14	La volunté si longtemps endormie	5	Details
Analysis ID Analyst 31 Is Cadence? No
15–15	La volunté si longtemps endormie	5	Details
Analysis ID Analyst 31 Is Cadence? No
14–17	La volunté si longtemps endormie	5	Details
Analysis ID Analyst 31 Is Cadence? No
16–17	La volunté si longtemps endormie	5	Details
Analysis ID Analyst 31 Is Cadence? No
19–20	La volunté si longtemps endormie	6	Details
Analysis ID Analyst 31 Is Cadence? No
20–20	La volunté si longtemps endormie	6	Details
Analysis ID Analyst 31 Is Cadence? No Comments parallel 5th in T/B, Ct crosses over S then under T. Not a well brought together measure
21–22	La volunté si longtemps endormie	6	Details
Analysis ID Analyst 31 Is Cadence? No
22–28	La volunté si longtemps endormie	7	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
28–33	La volunté si longtemps endormie	8	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Text changes the entries from simultaneous to HR Stagger in m 28
1–2	Vive sera pour jamais n'estre morte	1	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments B late
1–3	Vive sera pour jamais n'estre morte	1	Details
Analysis ID Analyst 31 Is Cadence? No Text Treatment HR Stagger Comments Ct @ 5 above B
4–4	Vive sera pour jamais n'estre morte	1	Details
Analysis ID Analyst 31 Is Cadence? No
5–6	Vive sera pour jamais n'estre morte	1	Details
Analysis ID Analyst 31 Is Cadence? No
6–7	Vive sera pour jamais n'estre morte	2	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments S late
8–9	Vive sera pour jamais n'estre morte	2	Details
Analysis ID Analyst 31 Is Cadence? No Comments also parallel 6 in S/Ct
10–11	Vive sera pour jamais n'estre morte	2	Details
Analysis ID Analyst 31 Is Cadence? No
1–6	Vive sera pour jamais n'estre morte	3	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
6–12	Vive sera pour jamais n'estre morte	4	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
12–13	Vive sera pour jamais n'estre morte	5	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments S late
13–15	Vive sera pour jamais n'estre morte	5	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca
14–15	Vive sera pour jamais n'estre morte	5	Details
Analysis ID Analyst 31 Is Cadence? No Text Treatment Text Overlap
15–17	Vive sera pour jamais n'estre morte	6	Details
Analysis ID Analyst 31 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
16–17	Vive sera pour jamais n'estre morte	6	Details
Analysis ID Analyst 31 Is Cadence? No Comments also parallel 3 Ct/T
15–16	Vive sera pour jamais n'estre morte	6	Details
Analysis ID Analyst 31 Is Cadence? No
17–19	Vive sera pour jamais n'estre morte	6	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca
19–20	Vive sera pour jamais n'estre morte	6	Details
Analysis ID Analyst 31 Is Cadence? No Comments phrygian cadence on A Ct/B before auth
20–24	Vive sera pour jamais n'estre morte	7	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
24–29	Vive sera pour jamais n'estre morte	8	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
1–2	Mars et Amour font ensemble alliance	1	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments T early
2–3	Mars et Amour font ensemble alliance	1	Details
Analysis ID Analyst 31 Is Cadence? No
3–5	Mars et Amour font ensemble alliance	1	Details
Analysis ID Analyst 31 Is Cadence? No
4–5	Mars et Amour font ensemble alliance	1	Details
Analysis ID Analyst 31 Is Cadence? No
5–6	Mars et Amour font ensemble alliance	1	Details
Analysis ID Analyst 31 Is Cadence? No Comments no S resolution
6–8	Mars et Amour font ensemble alliance	2	Details
Analysis ID Analyst 31 Is Cadence? No Comments 3/8 in T/B
6–9	Mars et Amour font ensemble alliance	2	Details
Analysis ID Analyst 31 Is Cadence? No
7–9	Mars et Amour font ensemble alliance	2	Details
Analysis ID Analyst 31 Is Cadence? No
10–11	Mars et Amour font ensemble alliance	2	Details
Analysis ID Analyst 31 Is Cadence? No
12–17	Mars et Amour font ensemble alliance	3	Details
Analysis ID Analyst 31 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 31 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 31 Is Cadence? No Other Presentation Type HR Dactyll
23–25	Mars et Amour font ensemble alliance	5	Details
Analysis ID Analyst 31 Is Cadence? No
24–25	Mars et Amour font ensemble alliance	5	Details
Analysis ID Analyst 31 Is Cadence? No
25–27	Mars et Amour font ensemble alliance	5	Details
Analysis ID Analyst 31 Is Cadence? No
26–26	Mars et Amour font ensemble alliance	5	Details
Analysis ID Analyst 31 Is Cadence? No Comments parallel 5 after beat rest T/B
25–26	Mars et Amour font ensemble alliance	5	Details
Analysis ID Analyst 31 Is Cadence? No
26–27	Mars et Amour font ensemble alliance	6	Details
Analysis ID Analyst 31 Is Cadence? No Text Treatment Text Overlap
26–28	Mars et Amour font ensemble alliance	6	Details
Analysis ID Analyst 31 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 S @ 8 above T
27–27	Mars et Amour font ensemble alliance	6	Details
Analysis ID Analyst 31 Is Cadence? No
29–31	Mars et Amour font ensemble alliance	6	Details
Analysis ID Analyst 31 Is Cadence? No
30–31	Mars et Amour font ensemble alliance	6	Details
Analysis ID Analyst 31 Is Cadence? No
31–32	Mars et Amour font ensemble alliance	6	Details
Analysis ID Analyst 31 Is Cadence? No Comments no B downbeat resolution
32–34	Mars et Amour font ensemble alliance	7	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Bassus Voice Role (Comes 1) Contratenor Voice Role (Dux 2) Superius Other Counterpoint Stretto Fuga
33–35	Mars et Amour font ensemble alliance	7	Details
Analysis ID Analyst 31 Is Cadence? No Comments parallel 3 m 35 in T/B
36–36	Mars et Amour font ensemble alliance	7	Details
Analysis ID Analyst 31 Is Cadence? No
36–37	Mars et Amour font ensemble alliance	7	Details
Analysis ID Analyst 31 Is Cadence? No
37–37	Mars et Amour font ensemble alliance	7	Details
Analysis ID Analyst 31 Is Cadence? No
38–38	Mars et Amour font ensemble alliance	7	Details
Analysis ID Analyst 31 Is Cadence? No Comments Bass supplies T resolution, no bass in cadence till resolution
38–42	Mars et Amour font ensemble alliance	8	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type NIM Voice Role (Dux 1) Bassus Voice Role (Comes 1) Tenor Voice Role (Dux 2) Superius Voice Role (Comes 2) Contratenor Voice Role (@5) Tenor Voice Role (Above) Tenor Comments
40–41	Mars et Amour font ensemble alliance	8	Details
Analysis ID Analyst 31 Is Cadence? No
38–42	Mars et Amour font ensemble alliance	8	Details
Analysis ID Analyst 31 Is Cadence? No Comments should have included with ID
43–43	Mars et Amour font ensemble alliance	8	Details
Analysis ID Analyst 31 Is Cadence? No
39–40	Mars et Amour font ensemble alliance	8	Details
Analysis ID Analyst 31 Is Cadence? No
41–42	Mars et Amour font ensemble alliance	8	Details
Analysis ID Analyst 31 Is Cadence? No
43–44	Mars et Amour font ensemble alliance	8	Details
Analysis ID Analyst 31 Is Cadence? No Comments 3/8 in S/B
44–44	Mars et Amour font ensemble alliance	8	Details
Analysis ID Analyst 31 Is Cadence? No
45–46	Mars et Amour font ensemble alliance	8	Details
Analysis ID Analyst 31 Is Cadence? No
46–51	Mars et Amour font ensemble alliance	9	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied? Comments could be seen as T moving early or B late in HR Stagger. T energizes rhythm early, bass enters late.
51–56	Mars et Amour font ensemble alliance	10	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
1–2	Si la promesse m'est tenue	1	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments T late
2–4	Si la promesse m'est tenue	1	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca Comments 3/8 in S/B
3–4	Si la promesse m'est tenue	1	Details
Analysis ID Analyst 31 Is Cadence? No
4–6	Si la promesse m'est tenue	2	Details
Analysis ID Analyst 31 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 Voice Role (Below) Tenor Other Counterpoint Invertible Counterpoint, Stretto Fuga Comments T @ 4 below S
6–6	Si la promesse m'est tenue	2	Details
Analysis ID Analyst 31 Is Cadence? No
6–7	Si la promesse m'est tenue	2	Details
Analysis ID Analyst 31 Is Cadence? No
8–10	Si la promesse m'est tenue	3	Details
Analysis ID Analyst 31 Is Cadence? No
8–11	Si la promesse m'est tenue	3	Details
Analysis ID Analyst 31 Is Cadence? No Comments parallel 3 m 10 in S/B
12–13	Si la promesse m'est tenue	3	Details
Analysis ID Analyst 31 Is Cadence? No
11–12	Si la promesse m'est tenue	3	Details
Analysis ID Analyst 31 Is Cadence? No
13–13	Si la promesse m'est tenue	3	Details
Analysis ID Analyst 31 Is Cadence? No Comments No Ct res, no B res, B to g undercuts strength of cad
13–16	Si la promesse m'est tenue	4	Details
Analysis ID Analyst 31 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 (Comes 2) Tenor Voice Role (@1 or @8) Tenor Voice Role (@5) Tenor Voice Role (Above) Tenor Voice Role (Below) Tenor Other Counterpoint Invertible Counterpoint, Stretto Fuga Comments T @ 5 above B, S @ 8 above T, T @ 8 below S
14–15	Si la promesse m'est tenue	4	Details
Analysis ID Analyst 31 Is Cadence? No
16–16	Si la promesse m'est tenue	4	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca Comments 3/8 in S/B
16–17	Si la promesse m'est tenue	4	Details
Analysis ID Analyst 31 Is Cadence? No
17–18	Si la promesse m'est tenue	4	Details
Analysis ID Analyst 31 Is Cadence? No
1–2	L'autre jour jouer m'aloye/ Parmi ces champs	1	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type FI Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Tenor Voice Role (@1 or @8) Tenor Comments also HR Stagger with T late
1–1	L'autre jour jouer m'aloye/ Parmi ces champs	1	Details
Analysis ID Analyst 31 Is Cadence? No
2–2	L'autre jour jouer m'aloye/ Parmi ces champs	1	Details
Analysis ID Analyst 31 Is Cadence? No
3–4	L'autre jour jouer m'aloye/ Parmi ces champs	1	Details
Analysis ID Analyst 31 Is Cadence? No Comments Ct would need B nat
4–5	L'autre jour jouer m'aloye/ Parmi ces champs	2	Details
Analysis ID Analyst 31 Is Cadence? No Text Treatment Text Overlap
4–6	L'autre jour jouer m'aloye/ Parmi ces champs	2	Details
Analysis ID Analyst 31 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 Other Counterpoint Stretto fuga Comments T at unison with Ct
5–6	L'autre jour jouer m'aloye/ Parmi ces champs	2	Details
Analysis ID Analyst 31 Is Cadence? No
6–7	L'autre jour jouer m'aloye/ Parmi ces champs	2	Details
Analysis ID Analyst 31 Is Cadence? No
7–7	L'autre jour jouer m'aloye/ Parmi ces champs	2	Details
Analysis ID Analyst 31 Is Cadence? No Comments 3/8 in S/B
7–8	L'autre jour jouer m'aloye/ Parmi ces champs	2	Details
Analysis ID Analyst 31 Is Cadence? No
8–10	L'autre jour jouer m'aloye/ Parmi ces champs	3	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Simple Comments 3/8 in S/B
10–12	L'autre jour jouer m'aloye/ Parmi ces champs	4	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 3 Repeat, Exact or Varied? Comments new text same music
14–15	L'autre jour jouer m'aloye/ Parmi ces champs	4	Details
Analysis ID Analyst 31 Is Cadence? No Text Treatment Text Overlap Comments S 2-3
14–16	L'autre jour jouer m'aloye/ Parmi ces champs	5	Details
Analysis ID Analyst 31 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
15–16	L'autre jour jouer m'aloye/ Parmi ces champs	5	Details
Analysis ID Analyst 31 Is Cadence? No Comments consecutive 5ths Ct/B
16–16	L'autre jour jouer m'aloye/ Parmi ces champs	5	Details
Analysis ID Analyst 31 Is Cadence? No
16–17	L'autre jour jouer m'aloye/ Parmi ces champs	5	Details
Analysis ID Analyst 31 Is Cadence? No Comments after T crosses over Ct, Ct leaps a m6 to Eb, which could be awkward with the T already above
17–18	L'autre jour jouer m'aloye/ Parmi ces champs	5	Details
Analysis ID Analyst 31 Is Cadence? No Comments phrygian D B/Ct to Auth
18–22	L'autre jour jouer m'aloye/ Parmi ces champs	5	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 5 Repeat, Exact or Varied? Comments transition into bar 19 not the same as into bar 15, otherwise identical
1–5	Comme l'aymant par sa vertu latente	1	Details
Analysis ID Analyst 31 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 Dactyllic rhythm, not HR. S at 8 above, T at 8 below
3–3	Comme l'aymant par sa vertu latente	1	Details
Analysis ID Analyst 31 Is Cadence? No
5–6	Comme l'aymant par sa vertu latente	1	Details
Analysis ID Analyst 31 Is Cadence? No
7–8	Comme l'aymant par sa vertu latente	1	Details
Analysis ID Analyst 31 Is Cadence? No Comments Phr A Ct/B before Auth D
4–6	Comme l'aymant par sa vertu latente	1	Details
Analysis ID Analyst 31 Is Cadence? No
8–12	Comme l'aymant par sa vertu latente	2	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type PEn Voice Role (Dux 1) Bassus Voice Role (Comes 1) Tenor Voice Role (Dux 2) Contratenor Voice Role (Comes 2) Tenor Voice Role (@1 or @8) Contratenor Voice Role (@5) Tenor Voice Role (Above) Tenor Voice Role (Below) Tenor
9–10	Comme l'aymant par sa vertu latente	2	Details
Analysis ID Analyst 31 Is Cadence? No
9–13	Comme l'aymant par sa vertu latente	2	Details
Analysis ID Analyst 31 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) Contratenor Voice Role (Above) Contratenor Voice Role (Below) Tenor Comments Ct @ 8 above, S @ 8 above, T @ 8 below
12–12	Comme l'aymant par sa vertu latente	2	Details
Analysis ID Analyst 31 Is Cadence? No
14–15	Comme l'aymant par sa vertu latente	2	Details
Analysis ID Analyst 31 Is Cadence? No Comments Phr A Ct/B before Auth D
15–16	Comme l'aymant par sa vertu latente	3	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments S early
17–19	Comme l'aymant par sa vertu latente	3	Details
Analysis ID Analyst 31 Is Cadence? No
17–20	Comme l'aymant par sa vertu latente	3	Details
Analysis ID Analyst 31 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
18–19	Comme l'aymant par sa vertu latente	3	Details
Analysis ID Analyst 31 Is Cadence? No
20–21	Comme l'aymant par sa vertu latente	3	Details
Analysis ID Analyst 31 Is Cadence? No
21–22	Comme l'aymant par sa vertu latente	3	Details
Analysis ID Analyst 31 Is Cadence? No Comments No S resolution, Bass descends in scale not harmonic support
23–24	Comme l'aymant par sa vertu latente	4	Details
Analysis ID Analyst 31 Is Cadence? No
24–25	Comme l'aymant par sa vertu latente	4	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments T early
25–26	Comme l'aymant par sa vertu latente	4	Details
Analysis ID Analyst 31 Is Cadence? No
26–28	Comme l'aymant par sa vertu latente	4	Details
Analysis ID Analyst 31 Is Cadence? No
27–28	Comme l'aymant par sa vertu latente	4	Details
Analysis ID Analyst 31 Is Cadence? No
29–29	Comme l'aymant par sa vertu latente	5	Details
Analysis ID Analyst 31 Is Cadence? No
28–33	Comme l'aymant par sa vertu latente	5	Details
Analysis ID Analyst 31 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) Tenor Voice Role (Below) Bassus Other Counterpoint Invertible Counterpoint, Stretto Fuga Earlier Phrase 1 Repeat, Exact or Varied? Comments B @ 8 below, T @ 1, S @ 8 above, T again @ 8 below
30–31	Comme l'aymant par sa vertu latente	5	Details
Analysis ID Analyst 31 Is Cadence? No
31–34	Comme l'aymant par sa vertu latente	5	Details
Analysis ID Analyst 31 Is Cadence? No
32–32	Comme l'aymant par sa vertu latente	5	Details
Analysis ID Analyst 31 Is Cadence? No Comments parallel 5ths Ct/T
32–34	Comme l'aymant par sa vertu latente	5	Details
Analysis ID Analyst 31 Is Cadence? No
33–34	Comme l'aymant par sa vertu latente	5	Details
Analysis ID Analyst 31 Is Cadence? No
34–35	Comme l'aymant par sa vertu latente	5	Details
Analysis ID Analyst 31 Is Cadence? No
35–36	Comme l'aymant par sa vertu latente	5	Details
Analysis ID Analyst 31 Is Cadence? No Comments
36–38	Comme l'aymant par sa vertu latente	5	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments same as measures 8-10
37–38	Comme l'aymant par sa vertu latente	5	Details
Analysis ID Analyst 31 Is Cadence? No
36–39	Comme l'aymant par sa vertu latente	5	Details
Analysis ID Analyst 31 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 (Comes 2) Tenor Other Counterpoint Invertible Counterpoint Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Ct and T explore different counterpoint towards m 39. T @ 5 above, S @ 8 above, T @ 8 below
39–39	Comme l'aymant par sa vertu latente	5	Details
Analysis ID Analyst 31 Is Cadence? No Comments parallel 5ths Ct/T
38–41	Comme l'aymant par sa vertu latente	5	Details
Analysis ID Analyst 31 Is Cadence? No Comments 3/8 in S/B
39–41	Comme l'aymant par sa vertu latente	5	Details
Analysis ID Analyst 31 Is Cadence? No
40–41	Comme l'aymant par sa vertu latente	5	Details
Analysis ID Analyst 31 Is Cadence? No
41–42	Comme l'aymant par sa vertu latente	5	Details
Analysis ID Analyst 31 Is Cadence? No
42–43	Comme l'aymant par sa vertu latente	5	Details
Analysis ID Analyst 31 Is Cadence? No
4–5	Helas mon cœur (mon œil), n'as tu pas trop grand tort	1	Details
Analysis ID Analyst 31 Is Cadence? No
1–2	Helas mon cœur (mon œil), n'as tu pas trop grand tort	1	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Simple Comments would expect an 8 on the Ct treble clef?
2–3	Helas mon cœur (mon œil), n'as tu pas trop grand tort	1	Details
Analysis ID Analyst 31 Is Cadence? No Comments also parallel 3rds Ct/T. T repetition of G in m 2 avoids HR Fauxbourdon
3–5	Helas mon cœur (mon œil), n'as tu pas trop grand tort	1	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Superius Voice Role (Comes 1) Contratenor Voice Role (Dux 2) Bassus Voice Role (@5) Contratenor Voice Role (Below) Contratenor Other Counterpoint Stretto Fuga
4–5	Helas mon cœur (mon œil), n'as tu pas trop grand tort	1	Details
Analysis ID Analyst 31 Is Cadence? No
5–5	Helas mon cœur (mon œil), n'as tu pas trop grand tort	1	Details
Analysis ID Analyst 31 Is Cadence? No
5–6	Helas mon cœur (mon œil), n'as tu pas trop grand tort	1	Details
Analysis ID Analyst 31 Is Cadence? No Comments Auth C S/B Disp followed by Auth F T/Ct Disp Inc Evade No Ct or B resolution, Ct eventually move 2-3 not 2-1
5–7	Helas mon cœur (mon œil), n'as tu pas trop grand tort	2	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Text Treatment Text Overlap Comments S early
6–7	Helas mon cœur (mon œil), n'as tu pas trop grand tort	2	Details
Analysis ID Analyst 31 Is Cadence? No Comments 3/8 in T/B
6–8	Helas mon cœur (mon œil), n'as tu pas trop grand tort	2	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca Comments 3/8 in T/B
7–8	Helas mon cœur (mon œil), n'as tu pas trop grand tort	2	Details
Analysis ID Analyst 31 Is Cadence? No
9–10	Helas mon cœur (mon œil), n'as tu pas trop grand tort	2	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca
10–11	Helas mon cœur (mon œil), n'as tu pas trop grand tort	2	Details
Analysis ID Analyst 31 Is Cadence? No
11–12	Helas mon cœur (mon œil), n'as tu pas trop grand tort	2	Details
Analysis ID Analyst 31 Is Cadence? No
12–14	Helas mon cœur (mon œil), n'as tu pas trop grand tort	3	Details
Analysis ID Analyst 31 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 Invertible Counterpoint, Stretto Fuga Text Treatment Text Overlap Comments Could also consider the Ct as Anticipatory Entry, then just PEN S>B>T
14–15	Helas mon cœur (mon œil), n'as tu pas trop grand tort	3	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca
16–16	Helas mon cœur (mon œil), n'as tu pas trop grand tort	3	Details
Analysis ID Analyst 31 Is Cadence? No
16–18	Helas mon cœur (mon œil), n'as tu pas trop grand tort	4	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments Ct early
17–21	Helas mon cœur (mon œil), n'as tu pas trop grand tort	4	Details
Analysis ID Analyst 31 Is Cadence? No
17–19	Helas mon cœur (mon œil), n'as tu pas trop grand tort	4	Details
Analysis ID Analyst 31 Is Cadence? No Comments 3/8 in S/B
19–21	Helas mon cœur (mon œil), n'as tu pas trop grand tort	4	Details
Analysis ID Analyst 31 Is Cadence? No
20–21	Helas mon cœur (mon œil), n'as tu pas trop grand tort	4	Details
Analysis ID Analyst 31 Is Cadence? No
21–23	Helas mon cœur (mon œil), n'as tu pas trop grand tort	5	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca Comments 3/8 in S/B, cadincad elides phrases
23–24	Helas mon cœur (mon œil), n'as tu pas trop grand tort	5	Details
Analysis ID Analyst 31 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) Bassus Voice Role (Lower Voice 2 NIM) Superius
24–25	Helas mon cœur (mon œil), n'as tu pas trop grand tort	5	Details
Analysis ID Analyst 31 Is Cadence? No
25–26	Helas mon cœur (mon œil), n'as tu pas trop grand tort	5	Details
Analysis ID Analyst 31 Is Cadence? No
25–28	Helas mon cœur (mon œil), n'as tu pas trop grand tort	6	Details
Analysis ID Analyst 31 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 Invertible Counterpoint, Stretto Fuga
29–29	Helas mon cœur (mon œil), n'as tu pas trop grand tort	6	Details
Analysis ID Analyst 31 Is Cadence? No
30–30	Helas mon cœur (mon œil), n'as tu pas trop grand tort	6	Details
Analysis ID Analyst 31 Is Cadence? No
31–32	Helas mon cœur (mon œil), n'as tu pas trop grand tort	6	Details
Analysis ID Analyst 31 Is Cadence? No Comments B evades 5-6
32–33	Helas mon cœur (mon œil), n'as tu pas trop grand tort	7	Details
Analysis ID Analyst 31 Is Cadence? No
33–33	Helas mon cœur (mon œil), n'as tu pas trop grand tort	7	Details
Analysis ID Analyst 31 Is Cadence? No
34–35	Helas mon cœur (mon œil), n'as tu pas trop grand tort	7	Details
Analysis ID Analyst 31 Is Cadence? No
35–37	Helas mon cœur (mon œil), n'as tu pas trop grand tort	7	Details
Analysis ID Analyst 31 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
36–37	Helas mon cœur (mon œil), n'as tu pas trop grand tort	7	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca
37–38	Helas mon cœur (mon œil), n'as tu pas trop grand tort	7	Details
Analysis ID Analyst 31 Is Cadence? No
37–37	Helas mon cœur (mon œil), n'as tu pas trop grand tort	7	Details
Analysis ID Analyst 31 Is Cadence? No
38–39	Helas mon cœur (mon œil), n'as tu pas trop grand tort	7	Details
Analysis ID Analyst 31 Is Cadence? No Comments Ct no resolution
40–40	Helas mon cœur (mon œil), n'as tu pas trop grand tort	8	Details
Analysis ID Analyst 31 Is Cadence? No
42–43	Helas mon cœur (mon œil), n'as tu pas trop grand tort	8	Details
Analysis ID Analyst 31 Is Cadence? No Comments parallel 7ths Ct/B
43–44	Helas mon cœur (mon œil), n'as tu pas trop grand tort	8	Details
Analysis ID Analyst 31 Is Cadence? No Comments bass resolves big beat early
1–3	Trop justement je forme une complainte	1	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Dactyll
3–5	Trop justement je forme une complainte	1	Details
Analysis ID Analyst 31 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
4–5	Trop justement je forme une complainte	1	Details
Analysis ID Analyst 31 Is Cadence? No
5–7	Trop justement je forme une complainte	1	Details
Analysis ID Analyst 31 Is Cadence? No
6–7	Trop justement je forme une complainte	1	Details
Analysis ID Analyst 31 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
8–8	Trop justement je forme une complainte	1	Details
Analysis ID Analyst 31 Is Cadence? No
7–8	Trop justement je forme une complainte	1	Details
Analysis ID Analyst 31 Is Cadence? No
8–11	Trop justement je forme une complainte	2	Details
Analysis ID Analyst 31 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 Comments 5/3/8 in S/B
9–12	Trop justement je forme une complainte	2	Details
Analysis ID Analyst 31 Is Cadence? No Comments 5/3/8 in T/B 8/5/3 in Ct/B
10–11	Trop justement je forme une complainte	2	Details
Analysis ID Analyst 31 Is Cadence? No
12–12	Trop justement je forme une complainte	2	Details
Analysis ID Analyst 31 Is Cadence? No
1–8	Trop justement je forme une complainte	3	Details
Analysis ID Analyst 31 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 31 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 31 Is Cadence? No Other Presentation Type HR Simple Comments No 3/5 b/c vertical sonorities just alternating, not progressing
13–16	Trop justement je forme une complainte	5	Details
Analysis ID Analyst 31 Is Cadence? No
16–17	Trop justement je forme une complainte	5	Details
Analysis ID Analyst 31 Is Cadence? No
17–17	Trop justement je forme une complainte	5	Details
Analysis ID Analyst 31 Is Cadence? No
19–21	Trop justement je forme une complainte	6	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Text Treatment Text Overlap Comments Ct early
20–22	Trop justement je forme une complainte	6	Details
Analysis ID Analyst 31 Is Cadence? No
21–24	Trop justement je forme une complainte	6	Details
Analysis ID Analyst 31 Is Cadence? No Comments parallel 3 in Ct/B also, T above Ct
22–23	Trop justement je forme une complainte	6	Details
Analysis ID Analyst 31 Is Cadence? No Comments also parallel 3rds in Ct/T, Voice exchange modifies sounding of 3rds from 21-22
23–24	Trop justement je forme une complainte	6	Details
Analysis ID Analyst 31 Is Cadence? No Comments Ct and T extend cadence with decoration
25–29	Trop justement je forme une complainte	7	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Dance
25–27	Trop justement je forme une complainte	7	Details
Analysis ID Analyst 31 Is Cadence? No Comments 3/8 in S/B
29–30	Trop justement je forme une complainte	7	Details
Analysis ID Analyst 31 Is Cadence? No Comments s ficta
31–32	Trop justement je forme une complainte	8	Details
Analysis ID Analyst 31 Is Cadence? No
35–36	Trop justement je forme une complainte	8	Details
Analysis ID Analyst 31 Is Cadence? No Comments No S or Ct resolution, S evades 5-6 and Ct evades 2-4
36–38	Trop justement je forme une complainte	9	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Simple
38–40	Trop justement je forme une complainte	9	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments T late
39–40	Trop justement je forme une complainte	9	Details
Analysis ID Analyst 31 Is Cadence? No Comments Ct 2-3
40–43	Trop justement je forme une complainte	10	Details
Analysis ID Analyst 31 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
44–46	Trop justement je forme une complainte	10	Details
Analysis ID Analyst 31 Is Cadence? No
48–48	Trop justement je forme une complainte	10	Details
Analysis ID Analyst 31 Is Cadence? No
2–2	Quelle prison au monde est plus cruelle	1	Details
Analysis ID Analyst 31 Is Cadence? No
1–5	Quelle prison au monde est plus cruelle	1	Details
Analysis ID Analyst 31 Is Cadence? No
3–6	Quelle prison au monde est plus cruelle	1	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Simple
5–6	Quelle prison au monde est plus cruelle	1	Details
Analysis ID Analyst 31 Is Cadence? No
6–7	Quelle prison au monde est plus cruelle	2	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments B late
7–8	Quelle prison au monde est plus cruelle	2	Details
Analysis ID Analyst 31 Is Cadence? No
8–9	Quelle prison au monde est plus cruelle	2	Details
Analysis ID Analyst 31 Is Cadence? No Comments 3/8 in S/B
9–10	Quelle prison au monde est plus cruelle	2	Details
Analysis ID Analyst 31 Is Cadence? No
1–6	Quelle prison au monde est plus cruelle	3	Details
Analysis ID Analyst 31 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 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
13–14	Quelle prison au monde est plus cruelle	5	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca Comments 3/8 in S/B, 11-12 = 13-14 except the voices exchange parts S=>T, Ct=>S, T=>Ct
11–11	Quelle prison au monde est plus cruelle	5	Details
Analysis ID Analyst 31 Is Cadence? No Comments Should the text say "A-dieu" instead of "O-dieu"?
14–16	Quelle prison au monde est plus cruelle	5	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments T late
17–17	Quelle prison au monde est plus cruelle	5	Details
Analysis ID Analyst 31 Is Cadence? No
17–19	Quelle prison au monde est plus cruelle	6	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Superius Voice Role (Dux 2) Tenor Voice Role (Comes 2) Bassus Voice Role (@1 or @8) Tenor Voice Role (@5) Bassus Voice Role (@4) Superius Voice Role (Above) Superius Voice Role (Below) Tenor Comments B @ 5 below, T must enter 1/2 beat late to be heard through S repeating C's
19–20	Quelle prison au monde est plus cruelle	6	Details
Analysis ID Analyst 31 Is Cadence? No
20–21	Quelle prison au monde est plus cruelle	6	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca
22–27	Quelle prison au monde est plus cruelle	7	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
27–31	Quelle prison au monde est plus cruelle	8	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments m8 and m 29 have different PT's. Should repeat at end of phrase return to 22 instead of 21?
30–31	Quelle prison au monde est plus cruelle	8	Details
Analysis ID Analyst 31 Is Cadence? No Comments same text pause ending cadence in m 21 phrase 6
1–2	Maistre Ambrelin, confesseur de nonettes	1	Details
Analysis ID Analyst 31 Is Cadence? No
1–3	Maistre Ambrelin, confesseur de nonettes	1	Details
Analysis ID Analyst 31 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 (Below) Bassus Comments Ct @ 5 above B, tonal for Ct TI and descent of 3rd not 4th
3–3	Maistre Ambrelin, confesseur de nonettes	1	Details
Analysis ID Analyst 31 Is Cadence? No Comments brief, but felt together
3–4	Maistre Ambrelin, confesseur de nonettes	1	Details
Analysis ID Analyst 31 Is Cadence? No
4–4	Maistre Ambrelin, confesseur de nonettes	1	Details
Analysis ID Analyst 31 Is Cadence? No
4–5	Maistre Ambrelin, confesseur de nonettes	2	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Dux 1) Contratenor Voice Role (Comes 1) Superius Voice Role (Dux 2) Bassus Voice Role (@5) Superius Voice Role (Above) Superius Other Counterpoint Invertible Counterpoint, Stretto Fuga
6–7	Maistre Ambrelin, confesseur de nonettes	2	Details
Analysis ID Analyst 31 Is Cadence? No
6–8	Maistre Ambrelin, confesseur de nonettes	2	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca
7–8	Maistre Ambrelin, confesseur de nonettes	2	Details
Analysis ID Analyst 31 Is Cadence? No
8–12	Maistre Ambrelin, confesseur de nonettes	3	Details
Analysis ID Analyst 31 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 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
16–16	Maistre Ambrelin, confesseur de nonettes	5	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments T late
17–19	Maistre Ambrelin, confesseur de nonettes	5	Details
Analysis ID Analyst 31 Is Cadence? No Comments 8/5/3 in Ct/B begin 17 and continue to 21, but by end of phrase 5 there aren't two full cycles through the pattern
18–19	Maistre Ambrelin, confesseur de nonettes	5	Details
Analysis ID Analyst 31 Is Cadence? No
20–21	Maistre Ambrelin, confesseur de nonettes	6	Details
Analysis ID Analyst 31 Is Cadence? No
21–22	Maistre Ambrelin, confesseur de nonettes	6	Details
Analysis ID Analyst 31 Is Cadence? No Comments No B resolution, Ct 2-3
23–23	Maistre Ambrelin, confesseur de nonettes	7	Details
Analysis ID Analyst 31 Is Cadence? No
24–26	Maistre Ambrelin, confesseur de nonettes	7	Details
Analysis ID Analyst 31 Is Cadence? No
25–26	Maistre Ambrelin, confesseur de nonettes	7	Details
Analysis ID Analyst 31 Is Cadence? No
26–26	Maistre Ambrelin, confesseur de nonettes	7	Details
Analysis ID Analyst 31 Is Cadence? No
26–27	Maistre Ambrelin, confesseur de nonettes	8	Details
Analysis ID Analyst 31 Is Cadence? No
27–28	Maistre Ambrelin, confesseur de nonettes	8	Details
Analysis ID Analyst 31 Is Cadence? No
28–28	Maistre Ambrelin, confesseur de nonettes	8	Details
Analysis ID Analyst 31 Is Cadence? No
28–29	Maistre Ambrelin, confesseur de nonettes	8	Details
Analysis ID Analyst 31 Is Cadence? No
29–30	Maistre Ambrelin, confesseur de nonettes	8	Details
Analysis ID Analyst 31 Is Cadence? No
31–32	Maistre Ambrelin, confesseur de nonettes	9	Details
Analysis ID Analyst 31 Is Cadence? No
33–33	Maistre Ambrelin, confesseur de nonettes	9	Details
Analysis ID Analyst 31 Is Cadence? No Comments evaded S 7-3, T 5-6
33–34	Maistre Ambrelin, confesseur de nonettes	10	Details
Analysis ID Analyst 31 Is Cadence? No
35–36	Maistre Ambrelin, confesseur de nonettes	10	Details
Analysis ID Analyst 31 Is Cadence? No
35–37	Maistre Ambrelin, confesseur de nonettes	10	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type FI Voice Role (Upper Voice 1 NIM) Tenor Voice Role (Lower Voice 1 NIM) Bassus
38–39	Maistre Ambrelin, confesseur de nonettes	10	Details
Analysis ID Analyst 31 Is Cadence? No Comments I would adjust the repeat at the end, to allow the return to make sense both musically and textually. I propose a cut halfway through m 40, leaving the B entrance on low A out, then have the return to the beginning of 32, not the halfway mark of 31. Just my suggestion.
1–4	Qu'est-ce que fait celui qui se marie	1	Details
Analysis ID Analyst 31 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
2–3	Qu'est-ce que fait celui qui se marie	1	Details
Analysis ID Analyst 31 Is Cadence? No
4–4	Qu'est-ce que fait celui qui se marie	1	Details
Analysis ID Analyst 31 Is Cadence? No
4–5	Qu'est-ce que fait celui qui se marie	1	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca Comments 3/8 in S/B
5–6	Qu'est-ce que fait celui qui se marie	1	Details
Analysis ID Analyst 31 Is Cadence? No
6–7	Qu'est-ce que fait celui qui se marie	2	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments S early, B drops out this phrase
7–8	Qu'est-ce que fait celui qui se marie	2	Details
Analysis ID Analyst 31 Is Cadence? No
9–14	Qu'est-ce que fait celui qui se marie	3	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied? Comments Ct fills in S downbeat m 10 for PEn rhythmic requirments
15–16	Qu'est-ce que fait celui qui se marie	4	Details
Analysis ID Analyst 31 Is Cadence? No
16–16	Qu'est-ce que fait celui qui se marie	4	Details
Analysis ID Analyst 31 Is Cadence? No
16–17	Qu'est-ce que fait celui qui se marie	4	Details
Analysis ID Analyst 31 Is Cadence? No Comments 3/8 in Ct/T
17–17	Qu'est-ce que fait celui qui se marie	4	Details
Analysis ID Analyst 31 Is Cadence? No
18–19	Qu'est-ce que fait celui qui se marie	5	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Simple
19–21	Qu'est-ce que fait celui qui se marie	5	Details
Analysis ID Analyst 31 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 Comments parallel 3rds first half of NIM Ct/T m19-20
21–22	Qu'est-ce que fait celui qui se marie	6	Details
Analysis ID Analyst 31 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 Invertible Counterpoint, Stretto Fuga
22–22	Qu'est-ce que fait celui qui se marie	6	Details
Analysis ID Analyst 31 Is Cadence? No
22–23	Qu'est-ce que fait celui qui se marie	6	Details
Analysis ID Analyst 31 Is Cadence? No
23–25	Qu'est-ce que fait celui qui se marie	6	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments B early
24–25	Qu'est-ce que fait celui qui se marie	6	Details
Analysis ID Analyst 31 Is Cadence? No
25–29	Qu'est-ce que fait celui qui se marie	7	Details
Analysis ID Analyst 31 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 Repeat Kind Direct Repeat Earlier Phrase 6 Repeat, Exact or Varied? Comments T lower and later than Phrase 6. M 27 is augmented version of 23. Ct beat 2 m 28 moves before m 24.
29–30	Qu'est-ce que fait celui qui se marie	8	Details
Analysis ID Analyst 31 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 Comments Ct/T also in parallel 3rds
33–35	Qu'est-ce que fait celui qui se marie	9	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type NIM Voice Role (Upper Voice 1 NIM) Tenor Voice Role (Lower Voice 1 NIM) Contratenor Voice Role (Upper Voice 2 NIM) Superius Voice Role (Lower Voice 2 NIM) Bassus Other Counterpoint Invertible Counterpoint
34–35	Qu'est-ce que fait celui qui se marie	9	Details
Analysis ID Analyst 31 Is Cadence? No Comments cad m 35
35–38	Qu'est-ce que fait celui qui se marie	10	Details
Analysis ID Analyst 31 Is Cadence? No
37–38	Qu'est-ce que fait celui qui se marie	10	Details
Analysis ID Analyst 31 Is Cadence? No Comments also 3/5 in S/B
38–38	Qu'est-ce que fait celui qui se marie	10	Details
Analysis ID Analyst 31 Is Cadence? No
39–40	Qu'est-ce que fait celui qui se marie	10	Details
Analysis ID Analyst 31 Is Cadence? No
40–40	Qu'est-ce que fait celui qui se marie	10	Details
Analysis ID Analyst 31 Is Cadence? No Comments phrase 10 text repeats 4x through composed
42–42	Qu'est-ce que fait celui qui se marie	10	Details
Analysis ID Analyst 31 Is Cadence? No
42–43	Qu'est-ce que fait celui qui se marie	10	Details
Analysis ID Analyst 31 Is Cadence? No
45–45	Qu'est-ce que fait celui qui se marie	10	Details
Analysis ID Analyst 31 Is Cadence? No
1–3	Vrais amateurs du plaisir de Vénus	1	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Dactyll Comments 3/8 in S/B
3–4	Vrais amateurs du plaisir de Vénus	1	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type NIM Voice Role (Upper Voice 1 NIM) Superius Voice Role (Lower Voice 1 NIM) Contratenor Voice Role (Upper Voice 2 NIM) Tenor Voice Role (Lower Voice 2 NIM) Bassus
5–5	Vrais amateurs du plaisir de Vénus	1	Details
Analysis ID Analyst 31 Is Cadence? No Comments 3/8 in S/B
5–6	Vrais amateurs du plaisir de Vénus	1	Details
Analysis ID Analyst 31 Is Cadence? No
8–8	Vrais amateurs du plaisir de Vénus	2	Details
Analysis ID Analyst 31 Is Cadence? No Comments No Bass, enters on resolution, not as part of cadential material
8–10	Vrais amateurs du plaisir de Vénus	2	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type NIM Voice Role (Upper Voice 1 NIM) Bassus Voice Role (Lower Voice 1 NIM) Superius Voice Role (Upper Voice 2 NIM) Tenor Voice Role (Lower Voice 2 NIM) Contratenor
9–11	Vrais amateurs du plaisir de Vénus	2	Details
Analysis ID Analyst 31 Is Cadence? No Comments parallels finish m 10
11–11	Vrais amateurs du plaisir de Vénus	2	Details
Analysis ID Analyst 31 Is Cadence? No
1–6	Vrais amateurs du plaisir de Vénus	3	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
6–12	Vrais amateurs du plaisir de Vénus	4	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
12–15	Vrais amateurs du plaisir de Vénus	5	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments Ct late
13–15	Vrais amateurs du plaisir de Vénus	5	Details
Analysis ID Analyst 31 Is Cadence? No
14–15	Vrais amateurs du plaisir de Vénus	5	Details
Analysis ID Analyst 31 Is Cadence? No Comments 3/8 in S/B
16–17	Vrais amateurs du plaisir de Vénus	6	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Simple Other Formulas Romanesca Comments 3/8 in S/B
17–18	Vrais amateurs du plaisir de Vénus	6	Details
Analysis ID Analyst 31 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) Tenor Voice Role (Lower Voice 2 NIM) Contratenor Other Counterpoint Invertible Counterpoint
19–21	Vrais amateurs du plaisir de Vénus	6	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type FI Voice Role (Upper Voice 1 NIM) Superius Voice Role (Lower Voice 1 NIM) Contratenor Voice Role (@5) Contratenor Voice Role (Below) Contratenor
20–21	Vrais amateurs du plaisir de Vénus	6	Details
Analysis ID Analyst 31 Is Cadence? No
21–23	Vrais amateurs du plaisir de Vénus	6	Details
Analysis ID Analyst 31 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
22–23	Vrais amateurs du plaisir de Vénus	6	Details
Analysis ID Analyst 31 Is Cadence? No
23–24	Vrais amateurs du plaisir de Vénus	6	Details
Analysis ID Analyst 31 Is Cadence? No Comments 3/8 in S/B
24–25	Vrais amateurs du plaisir de Vénus	6	Details
Analysis ID Analyst 31 Is Cadence? No Text Treatment Text Pause
26–30	Vrais amateurs du plaisir de Vénus	8	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Dance Comments 3/8 in S/B
26–28	Vrais amateurs du plaisir de Vénus	8	Details
Analysis ID Analyst 31 Is Cadence? No
29–30	Vrais amateurs du plaisir de Vénus	8	Details
Analysis ID Analyst 31 Is Cadence? No
30–31	Vrais amateurs du plaisir de Vénus	9	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Comments S late
30–32	Vrais amateurs du plaisir de Vénus	9	Details
Analysis ID Analyst 31 Is Cadence? No
32–34	Vrais amateurs du plaisir de Vénus	9	Details
Analysis ID Analyst 31 Is Cadence? No
34–35	Vrais amateurs du plaisir de Vénus	9	Details
Analysis ID Analyst 31 Is Cadence? No
34–35	Vrais amateurs du plaisir de Vénus	9	Details
Analysis ID Analyst 31 Is Cadence? No
35–37	Vrais amateurs du plaisir de Vénus	10	Details
Analysis ID Analyst 31 Is Cadence? No Comments Romanesca in retrograde
35–38	Vrais amateurs du plaisir de Vénus	10	Details
Analysis ID Analyst 31 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) Contratenor Voice Role (Lower Voice 2 NIM) Superius
36–38	Vrais amateurs du plaisir de Vénus	10	Details
Analysis ID Analyst 31 Is Cadence? No Comments 3/8 in S/B, ROM in retrograde
38–40	Vrais amateurs du plaisir de Vénus	10	Details
Analysis ID Analyst 31 Is Cadence? No
39–40	Vrais amateurs du plaisir de Vénus	10	Details
Analysis ID Analyst 31 Is Cadence? No
40–42	Vrais amateurs du plaisir de Vénus	10	Details
Analysis ID Analyst 31 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) Tenor Voice Role (Lower Voice 2 NIM) Contratenor Other Counterpoint Invertible Counterpoint Comments 3/8 in Ct/B
41–42	Vrais amateurs du plaisir de Vénus	10	Details
Analysis ID Analyst 31 Is Cadence? No
2–3	J'ay d'un costé l'honneur tant estimé	1	Details
Analysis ID Analyst 31 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
4–5	J'ay d'un costé l'honneur tant estimé	1	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type PEn Tonal Voice Role (Upper Voice 1 NIM) Superius Voice Role (Lower Voice 1 NIM) Tenor Voice Role (Upper Voice 2 NIM) Bassus Voice Role (@4) Bassus Voice Role (Below) Bassus Other Counterpoint Stretto Fuga Comments T @ 2 below S
2–5	J'ay d'un costé l'honneur tant estimé	1	Details
Analysis ID Analyst 31 Is Cadence? No
6–6	J'ay d'un costé l'honneur tant estimé	1	Details
Analysis ID Analyst 31 Is Cadence? No Comments No B resolution
6–8	J'ay d'un costé l'honneur tant estimé	2	Details
Analysis ID Analyst 31 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 (@5) Bassus Voice Role (Below) Bassus
7–9	J'ay d'un costé l'honneur tant estimé	2	Details
Analysis ID Analyst 31 Is Cadence? No Comments 3/5 in S/B and 3/8 in Ct/B
10–12	J'ay d'un costé l'honneur tant estimé	2	Details
Analysis ID Analyst 31 Is Cadence? No Comments 3/8 in T/B, Bass descent too fast, S descent too slow for ROM
10–11	J'ay d'un costé l'honneur tant estimé	2	Details
Analysis ID Analyst 31 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) Bassus Voice Role (Lower Voice 2 NIM) Superius Other Counterpoint Invertible Counterpoint
12–13	J'ay d'un costé l'honneur tant estimé	2	Details
Analysis ID Analyst 31 Is Cadence? No
1–7	J'ay d'un costé l'honneur tant estimé	3	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
6–14	J'ay d'un costé l'honneur tant estimé	4	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied?
15–16	J'ay d'un costé l'honneur tant estimé	5	Details
Analysis ID Analyst 31 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
16–17	J'ay d'un costé l'honneur tant estimé	5	Details
Analysis ID Analyst 31 Is Cadence? No
15–17	J'ay d'un costé l'honneur tant estimé	5	Details
Analysis ID Analyst 31 Is Cadence? No
17–18	J'ay d'un costé l'honneur tant estimé	6	Details
Analysis ID Analyst 31 Is Cadence? No Comments 3/8 in S/B
18–20	J'ay d'un costé l'honneur tant estimé	6	Details
Analysis ID Analyst 31 Is Cadence? No
21–21	J'ay d'un costé l'honneur tant estimé	6	Details
Analysis ID Analyst 31 Is Cadence? No
22–24	J'ay d'un costé l'honneur tant estimé	7	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Dactyll Text Treatment Text Pause
2–4	J'ay le fruit tant désiré	1	Details
Analysis ID Analyst 31 Is Cadence? No
1–3	C'est a moy qu'en veult ce coqu	1	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Stagger Text Treatment Text Declamation Comments S enters half a bar early for HR Stagger. Coqu repetition in the bass provides dactyllic sense.
1–3	C'est a moy qu'en veult ce coqu	1	Details
Analysis ID Analyst 31 Is Cadence? No Comments one moment of parallel 3rds during pattern
2–3	C'est a moy qu'en veult ce coqu	1	Details
Analysis ID Analyst 31 Is Cadence? No Comments S/B alternating 3/8
4–6	C'est a moy qu'en veult ce coqu	2	Details
Analysis ID Analyst 31 Is Cadence? No Text Treatment Text Overlap Comments T/B also in 3/8 Text overlap occurs in measure 3
5–6	C'est a moy qu'en veult ce coqu	2	Details
Analysis ID Analyst 31 Is Cadence? No
6–8	C'est a moy qu'en veult ce coqu	3	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
8–11	C'est a moy qu'en veult ce coqu	4	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments
11–13	C'est a moy qu'en veult ce coqu	5	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Dactyll Text Treatment Text Declamation
13–15	C'est a moy qu'en veult ce coqu	6	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca Comments S/B in 3/8 Parallel 3rds in S/Ct overlap between phrases 5-6 during measures 12-14
15–17	C'est a moy qu'en veult ce coqu	7	Details
Analysis ID Analyst 31 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 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 6 Repeat, Exact or Varied?
20–20	C'est a moy qu'en veult ce coqu	8	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Fauxbourdon Comments Please disregard the previous HR Fauxbourdon data entry
20–21	C'est a moy qu'en veult ce coqu	8	Details
Analysis ID Analyst 31 Is Cadence? No Comments The text for measures 19-23 is the 8th phrase repeated another two times completely. The music originally mirrored phrase 6, but now is its own idea.
23–24	C'est a moy qu'en veult ce coqu	8	Details
Analysis ID Analyst 31 Is Cadence? No Comments Partial Romanesca statement in measure 22, but doesn't have the C major chord to make the statement a direct parallel to measure 14. It provides a sense of false romanesca before the ultimate cadence.
1–3	J'ay le fruit tant désiré	1	Details
Analysis ID Analyst 31 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 Bass at octave below
3–4	J'ay le fruit tant désiré	1	Details
Analysis ID Analyst 31 Is Cadence? No
4–6	J'ay le fruit tant désiré	2	Details
Analysis ID Analyst 31 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 Tenor at octave below
4–5	J'ay le fruit tant désiré	2	Details
Analysis ID Analyst 31 Is Cadence? No
7–8	J'ay le fruit tant désiré	2	Details
Analysis ID Analyst 31 Is Cadence? No Comments Tenor missing on downbeat
8–11	J'ay le fruit tant désiré	3	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 1 Repeat, Exact or Varied?
11–15	J'ay le fruit tant désiré	4	Details
Analysis ID Analyst 31 Is Cadence? No Repeat Kind Direct Repeat Earlier Phrase 2 Repeat, Exact or Varied? Comments Only change in repeat of phrase 4 is the final cadence is complete in the tenor in measure 15
16–21	J'ay le fruit tant désiré	5	Details
Analysis ID Analyst 31 Is Cadence? No Other Presentation Type HR Dance Comments meter changes to triple
17–19	J'ay le fruit tant désiré	5	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca Comments S/B in 3/8
19–21	J'ay le fruit tant désiré	5	Details
Analysis ID Analyst 31 Is Cadence? No Text Treatment Text Representation Comments The word augmenter is accompanied by immediately double duration notes.
19–21	J'ay le fruit tant désiré	6	Details
Analysis ID Analyst 31 Is Cadence? No Text Treatment Text Representation Comments The word augmenter is spelled with immediately double duration notes. The flow of passages 5 and 6 make the two appear as one musical phrase. disregard the previous entry labeling this as phrase 5
20–21	J'ay le fruit tant désiré	6	Details
Analysis ID Analyst 31 Is Cadence? No
21–23	J'ay le fruit tant désiré	7	Details
Analysis ID Analyst 31 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
22–23	J'ay le fruit tant désiré	7	Details
Analysis ID Analyst 31 Is Cadence? No
23–24	J'ay le fruit tant désiré	7	Details
Analysis ID Analyst 31 Is Cadence? No
24–26	J'ay le fruit tant désiré	8	Details
Analysis ID Analyst 31 Is Cadence? No Other Formulas Romanesca Comments Ct/B in 3/8
25–28	J'ay le fruit tant désiré	9	Details
Analysis ID Analyst 31 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 Voice Role (Below) Tenor Text Treatment Text Overlap Comments Tenor at octave below
27–28	J'ay le fruit tant désiré	9	Details
Analysis ID Analyst 31 Is Cadence? No Comments Ct/B in 3/8
28–28	J'ay le fruit tant désiré	9	Details
Analysis ID Analyst 31 Is Cadence? No
27–29	J'ay le fruit tant désiré	9	Details
Analysis ID Analyst 31 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

Quinn, Patrick

Analyses

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