| Phrase Number | Measures | Rhyme | Phrase |
|---|---|---|---|
| 1 | 1–4 | a | Puis qu’a t’aimer ne reçoy que tourment, |
| 2 | 4–10 | b | Quand du jouir ne voy aultre apparence |
| 3 | 1–4 | a | Ailleurs me fault cercher allegement, |
| 4 | 4–11 | b | Ou puisse aimer avec jouissance: |
| 5 | 11–15 | b | Remord d’amour ma dit n’aye desfiance, |
| 6 | 15–19 | c | Qui veult jouir il faut perseverer, |
| 7 | 19–23 | b | Ainsi voila comme suis en doubtance, |
| 8 | 23–29 | c | Que je ne sçay lequel faire ou laisser. |
| Phrase | Measures | Analyst | Show details | |
|---|---|---|---|---|
| 1 | 1–11 | Herdman, Jessica | Expand | |
CommentsPhrases 3-4 are an exact musical repetition of phrases 1-2. |
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| 1 | 1–4 | Romey, John | Expand | |
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| 1 | 1–4 | Herdman, Jessica | Expand | |
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| 1 | 1–3 | Holscher, Joshua | Expand | |
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| 1 | 2–3 | Holscher, Joshua | Expand | |
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| 1 | 3–4 | Herdman, Jessica | Expand | |
CommentsEvaded cad: Ct to E, not C (no 2>1). |
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| 1 | 3–4 | Holscher, Joshua | Expand | |
CommentsEvaded cadence at "tourment" |
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| 1 | 3–4 | Romey, John | Expand | |
Commentsevaded cad 2>3 |
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| 1 | 3–4 | Holscher, Joshua | Expand | |
CommentsEvaded Cadence: 2>3 tenorizans motion |
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| 2 | 4–5 | Romey, John | Expand | |
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| 2 | 6–8 | Herdman, Jessica | Expand | |
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| 2 | 6–8 | Holscher, Joshua | Expand | |
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| 2 | 8–10 | Herdman, Jessica | Expand | |
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| 2 | 8–9 | Holscher, Joshua | Expand | |
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| 2 | 8–10 | Romey, John | Expand | |
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| 2 | 9–10 | Holscher, Joshua | Expand | |
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| 2 | 9–10 | Herdman, Jessica | Expand | |
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| 3 | 1–4 | Holscher, Joshua | Expand | |
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| 3 | 1–4 | Romey, John | Expand | |
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| 4 | 4–11 | Romey, John | Expand | |
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| 4 | 4–11 | Holscher, Joshua | Expand | |
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| 4 | 11–11 | Romey, John | Expand | |
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| 5 | 11–14 | Romey, John | Expand | |
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| 5 | 11–11 | Holscher, Joshua | Expand | |
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| 5 | 11–14 | Holscher, Joshua | Expand | |
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| 5 | 11–11 | Herdman, Jessica | Expand | |
CommentsAll voices pause before moving onto the second musical section (i.e. after phrases 1-4). |
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| 5 | 11–12 | Herdman, Jessica | Expand | |
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| 5 | 11–15 | Herdman, Jessica | Expand | |
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| 5 | 13–15 | Romey, John | Expand | |
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| 5 | 14–15 | Holscher, Joshua | Expand | |
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| 5 | 14–15 | Herdman, Jessica | Expand | |
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| 6 | 15–17 | Holscher, Joshua | Expand | |
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| 6 | 15–16 | Romey, John | Expand | |
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| 6 | 15–17 | Herdman, Jessica | Expand | |
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| 6 | 16–18 | Holscher, Joshua | Expand | |
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| 6 | 17–19 | Romey, John | Expand | |
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| 6 | 18–19 | Holscher, Joshua | Expand | |
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| 6 | 18–19 | Herdman, Jessica | Expand | |
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| 7 | 19–23 | Herdman, Jessica | Expand | |
CommentsVaried repeat: there is a new rhythmic opening (no longer dactylic), and there is a different voicing in the first chord (m 19). |
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| 7 | 19–23 | Holscher, Joshua | Expand | |
CommentsVaried Repeat: Except for T, other 3 voices articulate the melody slightly differently. |
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| 7 | 19–19 | Herdman, Jessica | Expand | |
CommentsAll voices pause before returning to the music of the first section (to be reiterated in phrases 7-8). |
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| 7 | 19–23 | Herdman, Jessica | Expand | |
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| 7 | 19–23 | Holscher, Joshua | Expand | |
CommentsVaried Repeat: Superius's first note is C instead of G |
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| 7 | 19–19 | Holscher, Joshua | Expand | |
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| 7 | 19–19 | Romey, John | Expand | |
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| 7 | 19–23 | Romey, John | Expand | |
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| 8 | 23–29 | Holscher, Joshua | Expand | |
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| 8 | 23–29 | Holscher, Joshua | Expand | |
CommentsVaried Repeat: Superius adds anticipatory C in ms. 27. |
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| 8 | 23–30 | Herdman, Jessica | Expand | |
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| 8 | 23–29 | Herdman, Jessica | Expand | |
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| 8 | 23–29 | Romey, John | Expand | |
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