| Phrase | Measures | Analyst | Show details | |
|---|---|---|---|---|
| 1 | 1–4 | Belkot, John | Expand | |
CommentsTenor @ 5th below; Bassus @ 4th below |
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| 1 | 1–4 | Derycz, Pierre | Expand | |
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| 1 | 4–5 | Derycz, Pierre | Expand | |
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| 1 | 4–4 | Greenberg, Jamie | Expand | |
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| 1 | 4–5 | Derycz, Pierre | Expand | |
CommentsIn m. 5, musica ficta dictates G# in Superius, but PEn entrance in Tenor is G-natural. |
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| 1 | 5–7 | Belkot, John | Expand | |
CommentsText repeat |
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| 1 | 5–5 | Greenberg, Jamie | Expand | |
CommentsFicta in superius creates problem (augmented octave) with tenor. |
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| 1 | 5–5 | Belkot, John | Expand | |
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| 1 | 5–9 | Derycz, Pierre | Expand | |
CommentsBassus entry occurs significantly later than previous entry in tenor. |
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| 1 | 8–9 | Belkot, John | Expand | |
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| 1 | 8–10 | Derycz, Pierre | Expand | |
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| 1 | 9–10 | Derycz, Pierre | Expand | |
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| 1 | 9–10 | Greenberg, Jamie | Expand | |
CommentsThe pile-up of alterations to this cadence related to "mensonger." Could be CadInCad, though only coincides with end of superius line (not bassus). |
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| 1 | 9–10 | Belkot, John | Expand | |
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| 2 | 5–5 | Derycz, Pierre | Expand | |
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| 2 | 10–11 | Derycz, Pierre | Expand | |
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| 2 | 10–16 | Greenberg, Jamie | Expand | |
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| 2 | 10–12 | Belkot, John | Expand | |
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| 2 | 10–11 | Greenberg, Jamie | Expand | |
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| 2 | 12–13 | Belkot, John | Expand | |
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| 2 | 13–15 | Derycz, Pierre | Expand | |
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| 2 | 13–15 | Belkot, John | Expand | |
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| 2 | 15–16 | Derycz, Pierre | Expand | |
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| 2 | 15–16 | Greenberg, Jamie | Expand | |
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| 2 | 15–16 | Belkot, John | Expand | |
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| 3 | 16–18 | Greenberg, Jamie | Expand | |
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| 3 | 16–20 | Greenberg, Jamie | Expand | |
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| 3 | 16–18 | Belkot, John | Expand | |
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| 3 | 16–20 | Belkot, John | Expand | |
CommentsSoprano rises from D to F on the repeat instead of F to F on the 1st pass. 1st and 2nd Endings. |
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| 3 | 16–18 | Derycz, Pierre | Expand | |
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| 3 | 16–18 | Derycz, Pierre | Expand | |
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| 3 | 16–20 | Derycz, Pierre | Expand | |
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| 3 | 16–20 | Derycz, Pierre | Expand | |
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| 3 | 18–19 | Belkot, John | Expand | |
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| 3 | 19–20 | Greenberg, Jamie | Expand | |
Comments2>3 in tenor, no 2>1. |
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| 3 | 19–20 | Belkot, John | Expand | |
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| 3 | 19–20 | Derycz, Pierre | Expand | |
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| 4 | 20–27 | Derycz, Pierre | Expand | |
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| 4 | 20–26 | Greenberg, Jamie | Expand | |
CommentsWith "open" and "closed" endings. |
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| 4 | 20–26 | Belkot, John | Expand | |
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| 4 | 22–23 | Belkot, John | Expand | |
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| 4 | 24–26 | Derycz, Pierre | Expand | |
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| 4 | 24–25 | Greenberg, Jamie | Expand | |
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| 4 | 24–25 | Belkot, John | Expand | |
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| 4 | 25–26 | Derycz, Pierre | Expand | |
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| 4 | 25–26 | Belkot, John | Expand | |
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| 4 | 26–26 | Greenberg, Jamie | Expand | |
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