| Phrase Number | Measures | Rhyme | Phrase |
|---|---|---|---|
| 1 | 1–6 | a | Venons au poinct madame s’il vous plaist, |
| 2 | 5–10 | b | Il en est temps sans plus tant marchander. |
| 3 | 10–14 | b | Le doy je prendre ou le vous demander? |
| 4 | 14–18 | a | Dictes l’ouy, car le non me desplait. |
| 5 | 18–22 | c | Or faictes donc s’il vous plaist mon bel amy |
| 6 | 21–29 | d | L’ouy valoir et le non se retire. |
| 7 | 29–37 | d | Vous souffrez mal, et moy un grand martyre. |
| 8 | 38–43 | c | C’est couardise qui nous sert d’ennemy. |
| Phrase | Measures | Analyst | Show details | |
|---|---|---|---|---|
| 1 | 1–1 | Herdman, Jessica | Expand | |
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| 1 | 1–2 | Quinn, Patrick | Expand | |
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| 1 | 1–2 | Herdman, Jessica | Expand | |
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| 1 | 1–3 | Apgar, Jamie | Expand | |
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| 1 | 1–1 | Herdman, Jessica | Expand | |
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| 1 | 1–6 | Herdman, Jessica | Expand | |
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| 1 | 2–3 | Quinn, Patrick | Expand | |
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| 1 | 3–5 | Apgar, Jamie | Expand | |
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| 1 | 4–5 | Herdman, Jessica | Expand | |
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| 1 | 4–5 | Quinn, Patrick | Expand | |
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| 1 | 5–6 | Herdman, Jessica | Expand | |
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| 1 | 5–6 | Apgar, Jamie | Expand | |
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| 2 | 5–7 | Apgar, Jamie | Expand | |
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| 2 | 5–7 | Quinn, Patrick | Expand | |
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| 2 | 5–7 | Herdman, Jessica | Expand | |
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| 2 | 5–7 | Herdman, Jessica | Expand | |
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| 2 | 5–9 | Herdman, Jessica | Expand | |
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| 2 | 7–9 | Quinn, Patrick | Expand | |
CommentsS/B in 3/8 one tone away from 4 notes descending in Romanesca pattern |
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| 2 | 7–7 | Quinn, Patrick | Expand | |
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| 2 | 8–9 | Herdman, Jessica | Expand | |
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| 2 | 8–9 | Apgar, Jamie | Expand | |
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| 2 | 8–9 | Quinn, Patrick | Expand | |
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| 2 | 8–9 | Herdman, Jessica | Expand | |
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| 2 | 8–9 | Apgar, Jamie | Expand | |
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| 3 | 1–4 | Herdman, Jessica | Expand | |
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| 3 | 9–11 | Quinn, Patrick | Expand | |
CommentsTenor is an octave below the soprano |
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| 3 | 9–10 | Quinn, Patrick | Expand | |
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| 3 | 9–10 | Apgar, Jamie | Expand | |
CommentsT imitates S at 8 (below). |
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| 3 | 9–10 | Herdman, Jessica | Expand | |
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| 3 | 10–12 | Quinn, Patrick | Expand | |
CommentsS/B in 3/8 |
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| 3 | 10–11 | Quinn, Patrick | Expand | |
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| 3 | 12–13 | Apgar, Jamie | Expand | |
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| 3 | 12–13 | Apgar, Jamie | Expand | |
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| 3 | 12–13 | Quinn, Patrick | Expand | |
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| 3 | 13–14 | Herdman, Jessica | Expand | |
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| 4 | 5–9 | Herdman, Jessica | Expand | |
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| 4 | 14–17 | Apgar, Jamie | Expand | |
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| 4 | 15–16 | Quinn, Patrick | Expand | |
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| 4 | 16–17 | Apgar, Jamie | Expand | |
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| 4 | 16–17 | Herdman, Jessica | Expand | |
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| 4 | 16–17 | Quinn, Patrick | Expand | |
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| 5 | 10–10 | Herdman, Jessica | Expand | |
CommentsAll voices pause before moving onto new musical material (i.e. after phrases 3-4, which re-use the music of 1-2). |
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| 5 | 10–13 | Herdman, Jessica | Expand | |
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| 5 | 17–22 | Quinn, Patrick | Expand | |
CommentsMeasures 17-20 have parallel 3rds in Tenor and Bass, but don't stay parallel as long as S/Ct |
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| 5 | 18–20 | Herdman, Jessica | Expand | |
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| 5 | 18–22 | Apgar, Jamie | Expand | |
Comments2nd pair of NIM, S/Ct, also in 3rds. |
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| 5 | 19–20 | Herdman, Jessica | Expand | |
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| 5 | 20–20 | Quinn, Patrick | Expand | |
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| 5 | 20–21 | Herdman, Jessica | Expand | |
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| 5 | 20–21 | Quinn, Patrick | Expand | |
CommentsCt/B in 3/8 |
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| 5 | 21–22 | Quinn, Patrick | Expand | |
CommentsS and Ct have parallel 6ths on different lines of text |
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| 5 | 22–23 | Apgar, Jamie | Expand | |
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| 6 | 14–15 | Herdman, Jessica | Expand | |
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| 6 | 21–22 | Quinn, Patrick | Expand | |
CommentsS/B in 3/8 |
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| 6 | 22–25 | Herdman, Jessica | Expand | |
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| 6 | 22–23 | Herdman, Jessica | Expand | |
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| 6 | 22–24 | Quinn, Patrick | Expand | |
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| 6 | 22–25 | Apgar, Jamie | Expand | |
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| 6 | 23–24 | Quinn, Patrick | Expand | |
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| 6 | 23–27 | Quinn, Patrick | Expand | |
Commentsmoment of parallel 3rds during 3/8 in Ct/B |
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| 6 | 24–25 | Apgar, Jamie | Expand | |
CommentsBassus E is the evasion. |
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| 6 | 24–27 | Quinn, Patrick | Expand | |
CommentsT enters at 6th below Ct and S enters 6th above T |
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| 6 | 25–28 | Apgar, Jamie | Expand | |
CommentsS imitates 6 above. |
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| 6 | 25–27 | Quinn, Patrick | Expand | |
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| 6 | 25–26 | Herdman, Jessica | Expand | |
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| 6 | 26–27 | Quinn, Patrick | Expand | |
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| 6 | 26–29 | Herdman, Jessica | Expand | |
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| 6 | 27–28 | Quinn, Patrick | Expand | |
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| 6 | 27–28 | Herdman, Jessica | Expand | |
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| 6 | 27–28 | Apgar, Jamie | Expand | |
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| 6 | 27–28 | Herdman, Jessica | Expand | |
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| 7 | 15–19 | Herdman, Jessica | Expand | |
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| 7 | 22–25 | Herdman, Jessica | Expand | |
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| 7 | 28–30 | Apgar, Jamie | Expand | |
CommentsB imitates at 3 below. |
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| 7 | 28–29 | Quinn, Patrick | Expand | |
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| 7 | 29–31 | Herdman, Jessica | Expand | |
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| 7 | 30–31 | Quinn, Patrick | Expand | |
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| 7 | 33–34 | Quinn, Patrick | Expand | |
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| 7 | 33–34 | Herdman, Jessica | Expand | |
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| 7 | 33–34 | Apgar, Jamie | Expand | |
CommentsCt F is the evasion and T already cadenced on a B; T and B both drop out. |
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| 7 | 34–36 | Apgar, Jamie | Expand | |
CommentsCt 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. |
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| 7 | 34–37 | Herdman, Jessica | Expand | |
CommentsPartial repetition of the end of the phrase (mm 31-34), but altered in Ct, T and B to a shortened version. |
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| 7 | 35–36 | Quinn, Patrick | Expand | |
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| 7 | 36–37 | Apgar, Jamie | Expand | |
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| 8 | 19–22 | Herdman, Jessica | Expand | |
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| 8 | 26–28 | Herdman, Jessica | Expand | |
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| 8 | 37–38 | Quinn, Patrick | Expand | |
CommentsS/B in 3/8 |
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| 8 | 38–42 | Herdman, Jessica | Expand | |
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| 8 | 38–42 | Apgar, Jamie | Expand | |
CommentsSlight variation on phrase attack; staggered entry by S/T instead of all together as in Phrase 1. |
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| 8 | 38–42 | Herdman, Jessica | Expand | |
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| 8 | 39–40 | Quinn, Patrick | Expand | |
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| 8 | 40–41 | Herdman, Jessica | Expand | |
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| 8 | 40–41 | Quinn, Patrick | Expand | |
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