| Phrase Number | Measures | Rhyme | Phrase |
|---|---|---|---|
| 1 | 1–3 | a | Ce n’est poinct moy mon oeil qui te travaille |
| 2 | 4–6 | b | Accuses en toy mesmes seulement, |
| 3 | 1–3 | a | Car si les nuictz sans te fermer je veille, |
| 4 | 4–6 | b | Qui en est cause helas cest mon tourment, |
| 5 | 7–9 | b | Par ton regard eut son commencement, |
| 6 | 10–12 | c | Et cela faict que si mal je repose, |
| 7 | 12–16 | b | Ha donc povre oeil endure doulcement, |
| 8 | 15–26 | c | De ton travail, et du mien tu es cause. |
| Phrase | Measures | Analyst | Show details | |
|---|---|---|---|---|
| 1 | 1–3 | Babcock, Stuart | Expand | |
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| 1 | 1–3 | Bazinet, Genevieve | Expand | |
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| 1 | 3–3 | Bazinet, Genevieve | Expand | |
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| 1 | 3–3 | Babcock, Stuart | Expand | |
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| 2 | 4–4 | Bazinet, Genevieve | Expand | |
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| 2 | 4–5 | Babcock, Stuart | Expand | |
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| 2 | 4–6 | Bazinet, Genevieve | Expand | |
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| 2 | 4–5 | Bazinet, Genevieve | Expand | |
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| 2 | 4–6 | Babcock, Stuart | Expand | |
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| 2 | 5–6 | Babcock, Stuart | Expand | |
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| 2 | 5–6 | Bazinet, Genevieve | Expand | |
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| 3 | 1–3 | Babcock, Stuart | Expand | |
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| 3 | 1–3 | Bazinet, Genevieve | Expand | |
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| 4 | 4–6 | Bazinet, Genevieve | Expand | |
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| 4 | 4–6 | Babcock, Stuart | Expand | |
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| 5 | 7–9 | Babcock, Stuart | Expand | |
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| 5 | 7–9 | Bazinet, Genevieve | Expand | |
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| 5 | 8–9 | Bazinet, Genevieve | Expand | |
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| 5 | 8–9 | Babcock, Stuart | Expand | |
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| 5 | 8–9 | Babcock, Stuart | Expand | |
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| 6 | 10–12 | Babcock, Stuart | Expand | |
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| 6 | 10–12 | Bazinet, Genevieve | Expand | |
CommentsAlso parallel 4ths between Ct and T, bars 10-12. |
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| 6 | 11–12 | Babcock, Stuart | Expand | |
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| 6 | 12–12 | Babcock, Stuart | Expand | |
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| 6 | 12–12 | Bazinet, Genevieve | Expand | |
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| 7 | 12–15 | Babcock, Stuart | Expand | |
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| 7 | 12–14 | Bazinet, Genevieve | Expand | |
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| 7 | 13–13 | Babcock, Stuart | Expand | |
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| 7 | 13–13 | Babcock, Stuart | Expand | |
CommentsThis parallel motion coupled with the parallel thirds between the superius and contratenor combine to yield parallel fifths between the superius and the tenor. |
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| 7 | 14–15 | Babcock, Stuart | Expand | |
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| 7 | 14–15 | Babcock, Stuart | Expand | |
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| 7 | 14–15 | Bazinet, Genevieve | Expand | |
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| 8 | 15–21 | Babcock, Stuart | Expand | |
CommentsWhile the tenor enters @9 below, the rest of the melody is at the octave. |
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| 8 | 15–16 | Bazinet, Genevieve | Expand | |
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| 8 | 16–17 | Bazinet, Genevieve | Expand | |
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| 8 | 16–17 | Babcock, Stuart | Expand | |
CommentsThe superius moves 2>3 instead of 2>1. |
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| 8 | 17–23 | Bazinet, Genevieve | Expand | |
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| 8 | 17–18 | Babcock, Stuart | Expand | |
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| 8 | 17–18 | Bazinet, Genevieve | Expand | |
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| 8 | 20–21 | Babcock, Stuart | Expand | |
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| 8 | 23–24 | Babcock, Stuart | Expand | |
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| 8 | 23–24 | Bazinet, Genevieve | Expand | |
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| 8 | 24–26 | Babcock, Stuart | Expand | |
CommentsThe variation occurs only in measures 24-25, before the repeat sign which returns the music to measure 17. |
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