| Phrase Number | Measures | Rhyme | Phrase |
|---|---|---|---|
| 1 | 1–3 | a | Cest à moy qu’en veult ce coqu, |
| 2 | 3–6 | b | Car seule suis en ce boucage |
| 3 | 6–8 | a | Mais tu en mentz aussi fais tu, |
| 4 | 8–11 | b | Meschant oyseau elle est trop sage, |
| 5 | 11–13 | b | Un mary ay le corps pour gage, |
| 6 | 13–15 | c | Tant qu’il vouldra aupres de soy, |
| 7 | 15–17 | b | Suis je subjecte au coquage, |
| 8 | 17–23 | c | Quand l’esprit est du tout a moy. |
| Phrase | Measures | Analyst | Show details | |
|---|---|---|---|---|
| 1 | 1–4 | Romey, John | Expand | |
CommentsHR STAG in first measure |
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| 1 | 1–3 | Holscher, Joshua | Expand | |
CommentsHR Dactyll AND Stagger |
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| 1 | 1–3 | Clement, Deanna | Expand | |
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| 1 | 1–3 | Quinn, Patrick | Expand | |
Commentsone moment of parallel 3rds during pattern |
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| 1 | 1–3 | Quinn, Patrick | Expand | |
CommentsS enters half a bar early for HR Stagger. Coqu repetition in the bass provides dactyllic sense. |
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| 1 | 1–2 | Clement, Deanna | Expand | |
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| 1 | 1–3 | Herdman, Jessica | Expand | |
Comments8ves in Ct/T in m1 |
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| 1 | 1–3 | Clement, Deanna | Expand | |
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| 1 | 2–3 | Holscher, Joshua | Expand | |
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| 1 | 2–3 | Clement, Deanna | Expand | |
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| 1 | 2–3 | Holscher, Joshua | Expand | |
CommentsAlso ACC 5/8: Ct/B |
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| 1 | 2–3 | Quinn, Patrick | Expand | |
CommentsS/B alternating 3/8 |
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| 1 | 2–3 | Herdman, Jessica | Expand | |
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| 1 | 3–3 | Clement, Deanna | Expand | |
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| 1 | 3–3 | Romey, John | Expand | |
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| 1 | 3–4 | Holscher, Joshua | Expand | |
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| 1 | 3–3 | Herdman, Jessica | Expand | |
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| 2 | 3–5 | Clement, Deanna | Expand | |
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| 2 | 3–5 | Holscher, Joshua | Expand | |
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| 2 | 4–6 | Quinn, Patrick | Expand | |
CommentsT/B also in 3/8 Text overlap occurs in measure 3 |
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| 2 | 4–4 | Clement, Deanna | Expand | |
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| 2 | 4–5 | Clement, Deanna | Expand | |
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| 2 | 4–5 | Holscher, Joshua | Expand | |
CommentsAlso ACC 4/3: S/Ct and ACC 8/3: T/B |
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| 2 | 5–6 | Quinn, Patrick | Expand | |
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| 2 | 5–6 | Holscher, Joshua | Expand | |
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| 2 | 5–6 | Clement, Deanna | Expand | |
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| 2 | 5–6 | Herdman, Jessica | Expand | |
CommentsCAD: no 2>1, as Ct goes to F rather than D |
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| 2 | 5–6 | Romey, John | Expand | |
CommentsTenorizans moves 2>3 |
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| 3 | 6–8 | Herdman, Jessica | Expand | |
CommentsVaried repetition with rhythmic adjustments to correspond with new text. |
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| 3 | 6–8 | Clement, Deanna | Expand | |
CommentsCt holds last syllable of previous line. |
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| 3 | 6–8 | Romey, John | Expand | |
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| 3 | 6–6 | Romey, John | Expand | |
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| 3 | 6–8 | Holscher, Joshua | Expand | |
CommentsVaried Repeat: initial note's rhythmic value cut in half |
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| 3 | 6–6 | Holscher, Joshua | Expand | |
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| 3 | 6–8 | Quinn, Patrick | Expand | |
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| 4 | 8–11 | Quinn, Patrick | Expand | |
Comments
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| 4 | 8–11 | Romey, John | Expand | |
CommentsCadence avoided at end of phrase |
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| 4 | 8–11 | Holscher, Joshua | Expand | |
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| 4 | 8–11 | Clement, Deanna | Expand | |
CommentsNon-Double Leading Tone Cadence (also Displaced: Ct/B to G) in ms. 10-11 replaces Evaded, Displaced, Inverted Authentic Cadence (T/Ct to D) in ms. 5-6. |
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| 4 | 8–11 | Herdman, Jessica | Expand | |
CommentsVaried repetition with a different cadence. |
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| 4 | 10–11 | Holscher, Joshua | Expand | |
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| 4 | 10–11 | Herdman, Jessica | Expand | |
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| 5 | 11–13 | Quinn, Patrick | Expand | |
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| 5 | 11–13 | Clement, Deanna | Expand | |
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| 5 | 11–11 | Herdman, Jessica | Expand | |
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| 5 | 11–11 | Herdman, Jessica | Expand | |
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| 5 | 11–13 | Holscher, Joshua | Expand | |
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| 5 | 11–13 | Clement, Deanna | Expand | |
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| 5 | 12–12 | Romey, John | Expand | |
CommentsHR SIMPLE as well as HR DACTYLL |
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| 5 | 12–13 | Herdman, Jessica | Expand | |
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| 5 | 13–14 | Clement, Deanna | Expand | |
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| 5 | 13–14 | Holscher, Joshua | Expand | |
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| 6 | 13–15 | Holscher, Joshua | Expand | |
CommentsAlso ACC 4/3: S/Ct; ACC 5/8: Ct/B; ACC 3/4: Ct/T |
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| 6 | 13–15 | Quinn, Patrick | Expand | |
CommentsS/B in 3/8 Parallel 3rds in S/Ct overlap between phrases 5-6 during measures 12-14 |
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| 6 | 13–15 | Clement, Deanna | Expand | |
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| 6 | 13–14 | Herdman, Jessica | Expand | |
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| 6 | 13–15 | Clement, Deanna | Expand | |
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| 6 | 14–16 | Herdman, Jessica | Expand | |
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| 6 | 14–15 | Romey, John | Expand | |
CommentsRomanesca in S and T |
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| 6 | 14–15 | Holscher, Joshua | Expand | |
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| 6 | 14–15 | Clement, Deanna | Expand | |
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| 7 | 15–17 | Herdman, Jessica | Expand | |
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| 7 | 15–17 | Romey, John | Expand | |
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| 7 | 15–17 | Clement, Deanna | Expand | |
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| 7 | 15–17 | Quinn, Patrick | Expand | |
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| 7 | 15–17 | Holscher, Joshua | Expand | |
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| 7 | 15–17 | Clement, Deanna | Expand | |
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| 8 | 17–19 | Herdman, Jessica | Expand | |
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| 8 | 17–24 | Clement, Deanna | Expand | |
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| 8 | 17–19 | Holscher, Joshua | Expand | |
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| 8 | 17–19 | Romey, John | Expand | |
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| 8 | 17–19 | Quinn, Patrick | Expand | |
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| 8 | 17–19 | Clement, Deanna | Expand | |
CommentsEnding cadence rhythms varied to accommodate text repetition and new material. |
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| 8 | 19–21 | Herdman, Jessica | Expand | |
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| 8 | 19–20 | Herdman, Jessica | Expand | |
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| 8 | 19–22 | Clement, Deanna | Expand | |
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| 8 | 19–20 | Holscher, Joshua | Expand | |
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| 8 | 19–19 | Herdman, Jessica | Expand | |
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| 8 | 20–20 | Quinn, Patrick | Expand | |
CommentsPlease disregard the previous HR Fauxbourdon data entry |
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| 8 | 20–21 | Quinn, Patrick | Expand | |
CommentsThe 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. |
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| 8 | 20–20 | Romey, John | Expand | |
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| 8 | 20–20 | Clement, Deanna | Expand | |
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| 8 | 20–21 | Clement, Deanna | Expand | |
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| 8 | 21–22 | Clement, Deanna | Expand | |
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| 8 | 21–22 | Romey, John | Expand | |
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| 8 | 21–23 | Clement, Deanna | Expand | |
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| 8 | 23–24 | Quinn, Patrick | Expand | |
CommentsPartial 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. |
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| 8 | 23–24 | Herdman, Jessica | Expand | |
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| 8 | 23–24 | Holscher, Joshua | Expand | |
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| 8 | 23–24 | Clement, Deanna | Expand | |
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| 8 | 30–31 | Romey, John | Expand | |
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