| Phrase Number | Measures | Rhyme | Phrase |
|---|---|---|---|
| 1 | 1–6 | a | A ce matin d’un beau bouquet de rose, |
| 2 | 5–11 | b | Celle qui a mon cœur m’a faict present, |
| 3 | 1–6 | a | Le me donnant de sa bouche desclose, |
| 4 | 5–12 | b | Si m’a faict part d’un baiser tant plaisant, |
| 5 | 13–17 | b | Que tost apres le departir pensant |
| 6 | 17–22 | c | Prendre l’odeur, de ce bouquet donné, |
| 7 | 21–26 | c | Bien je le voy de belles fleurs orné |
| 8 | 25–31 | d | Mais ne sentoit rose, ny marjoulaine, |
| 9 | 31–36 | c | Ja ne falloit que j’en fusse estonné, |
| 10 | 35–43 | d | Plustost est soif l’odeur de son haleine. |
| Phrase | Measures | Analyst | Show details | |
|---|---|---|---|---|
| 1 | 1–3 | Derycz, Pierre | Expand | |
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| 1 | 1–3 | Greenberg, Jamie | Expand | |
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| 1 | 3–3 | Greenberg, Jamie | Expand | |
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| 1 | 4–6 | Derycz, Pierre | Expand | |
CommentsBoth cadences to D. Problematic musica ficta (C-sharp in Superius, m. 4; C-sharp in Tenor, m. 6). |
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| 1 | 5–5 | Derycz, Pierre | Expand | |
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| 1 | 6–6 | Greenberg, Jamie | Expand | |
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| 2 | 5–6 | Derycz, Pierre | Expand | |
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| 2 | 5–6 | Greenberg, Jamie | Expand | |
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| 2 | 5–6 | Derycz, Pierre | Expand | |
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| 2 | 6–9 | Derycz, Pierre | Expand | |
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| 2 | 6–9 | Greenberg, Jamie | Expand | |
CommentsSoggetto anticipated by CT mm. 5-6. |
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| 2 | 9–10 | Greenberg, Jamie | Expand | |
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| 2 | 10–11 | Greenberg, Jamie | Expand | |
CommentsFicta implied for leading tone. |
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| 2 | 10–11 | Derycz, Pierre | Expand | |
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| 3 | 1–6 | Greenberg, Jamie | Expand | |
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| 3 | 1–6 | Derycz, Pierre | Expand | |
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| 4 | 5–12 | Greenberg, Jamie | Expand | |
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| 4 | 5–12 | Derycz, Pierre | Expand | |
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| 5 | 13–17 | Derycz, Pierre | Expand | |
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| 5 | 13–14 | Derycz, Pierre | Expand | |
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| 5 | 13–17 | Greenberg, Jamie | Expand | |
CommentsMeter change to cut circle: quicker tempo representing departure following kiss. |
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| 5 | 15–17 | Greenberg, Jamie | Expand | |
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| 5 | 16–17 | Derycz, Pierre | Expand | |
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| 5 | 16–17 | Greenberg, Jamie | Expand | |
CommentsSince sense of text runs across two phrases, plagal cadence musically elides two phrases. |
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| 6 | 17–21 | Greenberg, Jamie | Expand | |
CommentsMeter returns to cut C. |
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| 6 | 18–19 | Derycz, Pierre | Expand | |
CommentsIn middle of phrase. |
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| 6 | 19–20 | Greenberg, Jamie | Expand | |
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| 6 | 20–21 | Derycz, Pierre | Expand | |
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| 7 | 21–24 | Greenberg, Jamie | Expand | |
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| 7 | 21–24 | Derycz, Pierre | Expand | |
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| 7 | 21–21 | Greenberg, Jamie | Expand | |
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| 7 | 23–24 | Greenberg, Jamie | Expand | |
CommentsB up 2 |
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| 7 | 24–25 | Derycz, Pierre | Expand | |
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| 8 | 25–29 | Greenberg, Jamie | Expand | |
CommentsBassus anticipates soggetto mm. 25-6. |
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| 8 | 25–26 | Greenberg, Jamie | Expand | |
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| 8 | 25–26 | Derycz, Pierre | Expand | |
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| 8 | 25–29 | Derycz, Pierre | Expand | |
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| 8 | 27–29 | Derycz, Pierre | Expand | |
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| 8 | 27–28 | Greenberg, Jamie | Expand | |
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| 8 | 29–29 | Derycz, Pierre | Expand | |
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| 8 | 29–30 | Derycz, Pierre | Expand | |
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| 8 | 30–31 | Greenberg, Jamie | Expand | |
CommentsNo 2>1. |
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| 9 | 31–36 | Derycz, Pierre | Expand | |
CommentsIn m. 31: Contratenor, Bassus and Superius entries are shortened. |
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| 9 | 31–36 | Greenberg, Jamie | Expand | |
CommentsBassus moves in parallel third minims with superius. |
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| 9 | 31–36 | Greenberg, Jamie | Expand | |
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| 9 | 33–36 | Derycz, Pierre | Expand | |
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| 9 | 33–33 | Greenberg, Jamie | Expand | |
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| 10 | 35–41 | Derycz, Pierre | Expand | |
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| 10 | 35–43 | Derycz, Pierre | Expand | |
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| 10 | 35–41 | Greenberg, Jamie | Expand | |
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| 10 | 35–43 | Greenberg, Jamie | Expand | |
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