Phrase Number | Measures | Rhyme | Phrase |
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1 | 1–4 | a | Cherchant Amour, Hymen vint apparoistre |
2 | 4–10 | b | Devant mes yeulx avecques chasteté. |
3 | 1–4 | a | Disant amy, pour donner à cognoistre |
4 | 4–10 | b | De vraye amour la seure fermeté. |
5 | 11–15 | b | En Cupido ne te tiens arresté. |
6 | 14–20 | c | Une sans plus de loyauté munie |
7 | 21–25 | b | Aymer tu doibs de chaste volunté. |
8 | 25–32 | c | Pour à jamais mener heureuse vie. |
Phrase | Measures | Analyst | Show details | |
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1 | 1–2 | Herdman, Jessica | Expand | |
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1 | 1–2 | Quinn, Patrick | Expand | |
Commentsdactyl 4+7, S/B in 3/8 |
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1 | 1–4 | Apgar, Jamie | Expand | |
CommentsThis is a correction to Analysis spreadsheet, line 1836. |
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1 | 1–2 | Apgar, Jamie | Expand | |
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1 | 2–4 | Apgar, Jamie | Expand | |
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1 | 2–4 | Quinn, Patrick | Expand | |
Commentsmeasure 3 has one parallel 3 in T/B |
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1 | 3–4 | Apgar, Jamie | Expand | |
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1 | 3–4 | Herdman, Jessica | Expand | |
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1 | 3–4 | Quinn, Patrick | Expand | |
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2 | 4–10 | Herdman, Jessica | Expand | |
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2 | 4–6 | Quinn, Patrick | Expand | |
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2 | 4–7 | Apgar, Jamie | Expand | |
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2 | 5–6 | Quinn, Patrick | Expand | |
CommentsS/T in 3/8 |
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2 | 6–8 | Herdman, Jessica | Expand | |
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2 | 6–7 | Quinn, Patrick | Expand | |
CommentsS/T in 3/8 |
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2 | 7–8 | Quinn, Patrick | Expand | |
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2 | 7–8 | Apgar, Jamie | Expand | |
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2 | 8–10 | Herdman, Jessica | Expand | |
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2 | 8–9 | Quinn, Patrick | Expand | |
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2 | 8–9 | Apgar, Jamie | Expand | |
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2 | 9–10 | Apgar, Jamie | Expand | |
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2 | 9–10 | Quinn, Patrick | Expand | |
Commentsmeasure 10 is half as long as a regular measure |
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2 | 9–10 | Herdman, Jessica | Expand | |
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3 | 1–6 | Quinn, Patrick | Expand | |
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3 | 1–4 | Apgar, Jamie | Expand | |
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3 | 1–4 | Herdman, Jessica | Expand | |
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4 | 4–10 | Apgar, Jamie | Expand | |
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4 | 4–10 | Quinn, Patrick | Expand | |
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5 | 11–12 | Apgar, Jamie | Expand | |
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5 | 11–12 | Herdman, Jessica | Expand | |
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5 | 11–12 | Quinn, Patrick | Expand | |
CommentsS/B in 3/8, has all the qualities of a romanesca (3/5, parallel 6, 3/8), but by definition, isn't romanesca |
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5 | 11–11 | Herdman, Jessica | Expand | |
CommentsAll voices pause before moving onto new musical material (i.e. after the repeat of the material from phrases 1-2 in 3-4). |
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5 | 12–13 | Apgar, Jamie | Expand | |
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5 | 12–13 | Quinn, Patrick | Expand | |
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5 | 12–14 | Herdman, Jessica | Expand | |
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5 | 14–15 | Herdman, Jessica | Expand | |
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5 | 14–14 | Quinn, Patrick | Expand | |
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5 | 14–15 | Apgar, Jamie | Expand | |
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5 | 14–15 | Herdman, Jessica | Expand | |
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5 | 14–15 | Apgar, Jamie | Expand | |
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5 | 16–17 | Quinn, Patrick | Expand | |
Commentsalso has 3/5 in S/Ct |
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5 | 17–18 | Quinn, Patrick | Expand | |
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6 | 14–15 | Quinn, Patrick | Expand | |
Commentstenor early |
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6 | 14–17 | Quinn, Patrick | Expand | |
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6 | 14–16 | Apgar, Jamie | Expand | |
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6 | 15–17 | Quinn, Patrick | Expand | |
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6 | 15–17 | Apgar, Jamie | Expand | |
CommentsTenor last voice in PEn imitates @7 below Superius. |
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6 | 15–17 | Herdman, Jessica | Expand | |
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6 | 16–20 | Apgar, Jamie | Expand | |
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6 | 16–20 | Apgar, Jamie | Expand | |
CommentsNote this occurs with two other ACC 3rds (S/B) and 5/3 (S/Ct) also in mm. 16-20, but the radio buttons prevented me from tagging together. |
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6 | 17–19 | Herdman, Jessica | Expand | |
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6 | 18–20 | Quinn, Patrick | Expand | |
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6 | 19–20 | Apgar, Jamie | Expand | |
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6 | 19–20 | Quinn, Patrick | Expand | |
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6 | 20–21 | Herdman, Jessica | Expand | |
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7 | 21–25 | Herdman, Jessica | Expand | |
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7 | 21–25 | Apgar, Jamie | Expand | |
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7 | 21–26 | Quinn, Patrick | Expand | |
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7 | 21–21 | Herdman, Jessica | Expand | |
CommentsAll voices pause before returning to opening musical material (from phrases 1-2 and 3-4). |
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7 | 21–25 | Herdman, Jessica | Expand | |
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8 | 25–31 | Apgar, Jamie | Expand | |
CommentsThe repetition is almost exact. There is a very slight difference in the two tenors: compare m.9, minim 2, to m.29, minim 4. |
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8 | 25–31 | Herdman, Jessica | Expand | |
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8 | 25–31 | Herdman, Jessica | Expand | |
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8 | 30–31 | Quinn, Patrick | Expand | |
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