| Phrase Number | Measures | Rhyme | Phrase |
|---|---|---|---|
| 1 | 1–3 | a | En amour y a du plaisir, |
| 2 | 3–6 | b | En amour douleur se pourmenne, |
| 3 | 6–8 | a | Y cueille qui en peult choisir, |
| 4 | 8–11 | b | La roze, et l’espine ny prenne |
| 5 | 11–13 | c | Mais si du bien tant est prochaine, |
| 6 | 13–16 | d | Que l’un sans l’aultre ne puisse estre, |
| 7 | 16–19 | c | Quicter le plaisir pour la peine, |
| 8 | 19–26 | d | C’est par Dieu faulte de cognoistre. |
| Phrase | Measures | Analyst | Show details | |
|---|---|---|---|---|
| 1 | 1–3 | Bazinet, Genevieve | Expand | |
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| 1 | 1–2 | Babcock, Stuart | Expand | |
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| 1 | 1–3 | Bazinet, Genevieve | Expand | |
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| 1 | 2–3 | Babcock, Stuart | Expand | |
CommentsThis is very similar to an authentic cadence, but the cadential pair begins with an inverted minor sixth (major third) instead of a major sixth. |
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| 1 | 2–3 | Bazinet, Genevieve | Expand | |
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| 2 | 3–4 | Babcock, Stuart | Expand | |
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| 2 | 3–6 | Bazinet, Genevieve | Expand | |
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| 2 | 3–6 | Bazinet, Genevieve | Expand | |
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| 2 | 4–6 | Babcock, Stuart | Expand | |
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| 2 | 5–5 | Bazinet, Genevieve | Expand | |
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| 2 | 5–6 | Babcock, Stuart | Expand | |
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| 3 | 6–8 | Bazinet, Genevieve | Expand | |
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| 3 | 6–8 | Bazinet, Genevieve | Expand | |
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| 3 | 6–8 | Babcock, Stuart | Expand | |
CommentsRelative to phrase 1, the time value of the first note in phrase 3 is halved. Further, the phrase ends homorhythmically unlike phrase 1. |
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| 3 | 8–8 | Bazinet, Genevieve | Expand | |
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| 4 | 8–11 | Bazinet, Genevieve | Expand | |
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| 4 | 8–11 | Babcock, Stuart | Expand | |
CommentsPhrase 4 more or less lines up the parts of phrase 2 into a simple homorhythm, whereas phrase 2 had a staggered homorhythm at the beginning. |
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| 4 | 9–11 | Bazinet, Genevieve | Expand | |
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| 4 | 11–11 | Bazinet, Genevieve | Expand | |
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| 5 | 11–13 | Babcock, Stuart | Expand | |
CommentsThere is also a 5/3 pattern between the bassus and soprano; the parallel sixths allow it such that the bassus and soprano form a fifth or octave while the bassus and tenor form a third, and vice versa. |
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| 5 | 11–13 | Bazinet, Genevieve | Expand | |
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| 5 | 13–13 | Babcock, Stuart | Expand | |
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| 5 | 13–13 | Bazinet, Genevieve | Expand | |
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| 6 | 13–15 | Babcock, Stuart | Expand | |
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| 6 | 13–14 | Bazinet, Genevieve | Expand | |
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| 6 | 13–16 | Bazinet, Genevieve | Expand | |
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| 6 | 14–15 | Bazinet, Genevieve | Expand | |
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| 6 | 15–16 | Babcock, Stuart | Expand | |
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| 6 | 15–16 | Bazinet, Genevieve | Expand | |
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| 7 | 16–19 | Bazinet, Genevieve | Expand | |
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| 7 | 16–19 | Babcock, Stuart | Expand | |
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| 7 | 16–19 | Bazinet, Genevieve | Expand | |
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| 7 | 18–19 | Bazinet, Genevieve | Expand | |
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| 7 | 19–19 | Babcock, Stuart | Expand | |
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| 7 | 19–19 | Bazinet, Genevieve | Expand | |
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| 7 | 25–19 | Babcock, Stuart | Expand | |
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| 8 | 19–26 | Bazinet, Genevieve | Expand | |
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| 8 | 19–24 | Bazinet, Genevieve | Expand | |
CommentsText declamation through repetition of words but with different melody: 19-22=22-24. |
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| 8 | 19–25 | Babcock, Stuart | Expand | |
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| 8 | 19–26 | Babcock, Stuart | Expand | |
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| 8 | 20–21 | Babcock, Stuart | Expand | |
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| 8 | 21–22 | Babcock, Stuart | Expand | |
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| 8 | 21–22 | Bazinet, Genevieve | Expand | |
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| 8 | 22–24 | Bazinet, Genevieve | Expand | |
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| 8 | 22–24 | Babcock, Stuart | Expand | |
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| 8 | 22–24 | Bazinet, Genevieve | Expand | |
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| 8 | 23–25 | Babcock, Stuart | Expand | |
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| 8 | 24–25 | Bazinet, Genevieve | Expand | |
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