1
The Lost Voices Project . . .
. . . Thesaurus
Links:
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Contact Richard Freedman: rfreedma@haverford.edu
Version 3.4 December 11, 2019
THESAURUS OVERVIEW
2
Cadences �(4-46) | Interval Patterns (47-71) | Presentation Types�(72-129) | Texts�(130-54) | Generics/Rarities�(155-56) |
Authentic (4-10) | Parallel 6ths (47-55) | Homorhythm Dance (73-74) | Text Repeat (131-32) | Verse type |
Phrygian (11-18) | Parallel 3rds (10ths) (56-61) | Homorhythm Stagger (75-76) | Text Reprise (134) | Ranges |
Plagal (19-22) | Alternating 3/5 (or 3/8) (62-68)) | Homorhythm Dactyllic (77) | Text Refrain (135) | Finals |
Non Double Leading (23-25) | Romanesca (69-71) | Homorhythm Fauxbourdon (78) | Text Enjambment (137) | |
Cad_in_Cadence (26-28)� | | Free Imitation (79-81) | Text Overlap (137-140) | Leaps |
Inverted Cadence (29-33) | | Non-Imitative Duos (82-89) | Text Representation (141-52) | Dissonances |
Displaced Cadence (34-40) | | Imitative Duos (89-103) | Text Declaim (152-54) | Parallel 5ths/8ves |
Evaded Cadence (41-43) | | Periodic Entries (104-113) | | |
Incomplete Cadence (45) | | Periodic Entries (stacked) (114) | | Citation/Quotation (156) |
| | Periodic Entries (tonal) (115) | | |
| | Invertible Counterpoint (various) | | |
| | Stretto Fuga (116-29) | | |
Table of Contents
CADENCES
3
L’huillier, Si je te voy
CAD: S/T to C
4
Cadences
DC0101.12-13.
Certon, Qui souhaitez avoir
CAD: S/T to D
5
Cadences
CAD: to E:
See examples for PHRYGIAN CAD, pages 11-17 below.
6
Cadences
DC0119.31-32
Du Tertre, J’ay d’un costé
CAD: S/T to F
7
Cadences
DC0502.14-15
Godart, J’ay le fruict desiré
CAD: S/T to G
8
Cadences
DC0101.6-7
Certon, Qui souhaitez avoir
CAD: S/T to A
9
Cadences
DC0104.3-4
Le Gendre, Cherchant amour
CAD: S/T to B-flat
10
Cadences
DC0108. 4-6
De Marle, Vivre sera
PHRYGIAN Cad: Ct/B to D [Also DISPLACED]
[Text Representation: unusual tone for this type of cadence, “morte”]
11
Cadences
DC0114.22-23
Pagnier, Trop justement
PHRYGIAN Cad: Ct/B to E
[Also DISPLACED]
[also Text Representation: “que merite la peine”]
12
Cadences
DC0108.22-23
De Marle, Vivre sera
PHRYGIAN Cad: Ct/B to D
[Also DISPLACED]
13
Cadences
DC0917.7-8
Bonard, Amour voyant
PHRYGIAN Cad: Ct/B to D (displaced);
[also Text representation: “le travail soucieux, Que je souffrois”]
[also Text overlap]
We might also consider the Ct/T to A a second displaced Phrygian cadence (although Ct now part of a new imitative point, and so this is questionable, and so this is probably NOT CadInCad).
14
Cadences
Monachus, De preceptis artis musicae, Ex 60-2 [ed. Park, p. 191]
PHRYGIAN Cad: S/T to E [also Inverted]
15
Cadences
Sancta Maria, Le Arte de Tañer Fantasia, Ch 26 Ex 199
PHRYGIAN Cad: Ct/B to E [Displaced]
16
Cadences
Monachus, De preceptis artis musicae, [Park p. 191, Ex 60-1, emended to correct clef error.]
PHRYGIAN Cad: T/B to A [ also Displaced]
17
Cadences
DC0106.24-25
Certon, L’enfant amour
Phrygian Cad: S/T to A
Comment:
Phrygian cadences in this position are almost always harmonized by bassus motion of falling fourth.
We would not mark this as a Plagal Cadence to D!
18
Cadences
DC0502.19-20
Godart, J’ay le fruict desiré
PLAGAL CADENCE to D [=lowest tone of final sonority]
In contrast to previous example: this is not a Phrygian cadence (since there is no suspension formula and no approach to final octave)
19
Cadences
DC0307.9-11
Goudimel, Du jeu d’aymer
PLAGAL to D
20
Cadences
DC0106.24-25
Certon, L’enfant amour
Reminder: this is NOT to be marked as a PLAGAL CADENCE.
It is a Phrygian Cad: S/T to A, because there is a Suspension Formula!
21
Cadences
DC0122.4
de Villiers, Amour et mort
PLAGAL CADENCE to C [=lowest tone of final sonority]
22
Cadences
DC0920.29-30.
De Boulland, Dame excellente
Non-Double Leading Tone CAD: Ct/B to C [also DISPLACED CAD]
TEXT REPRESENT: “devant que je trespasse”
23
Cadences
DC 0307. 23-24.
Goudimel, Du jeu d’aymer
Non-Double Leading Tone Cadence (= NDLT CAD, also DISPLACED): T/B to C
Comment: B must be sung as B-natural, making dissonance with F.
24
Cadences
Menehou, Nouvelle instruction, Chap 25 Ex B
Non-Double Leading Tone Cadence: Ct/B to C [Displaced].
Comment: The Ct must be sung as B-natural, but the Fs in the T cannot be sharp.
Menehou calls this “fort harmonieux”. The “mauvais accords” between some of the parts are “saved” by the succeeding consonance.
The dissonances are thus rendered “doux, et harmonieux”.
25
Cadences
DC0316. 4-7.
Goudimel, Comme le feu
CADinCAD: Ct/B to C, then S/T to F.
Such ‘double’ cadences are normally between two pairs of voices, and normally with final tones a fifth apart.
This one also overlaps with the start of a new imitative entry, which begins on the fifth above the final tone of the cadence in m. 7.
26
NB: each pair of voices must reach end of line of text!
Cadences
Sancta Maria, Le Arte de Tañer Fantasia, Ch 26 Ex 181
This is NOT a CADinCAD.
We could simply call this a phrygian preparation for a cadence, which requires no special mark up.
27
Cadences
DC0922. 11-12
Le Rat, O cruaulté
CADinCAD: Ct/B Phrygian to D, then S/T to G.
It resembles a “phrygian preparation” in terms of counterpoint. But the presentation of the literary text shows that there are in fact two cadences (the first between Ct and B, then another between S and T), as each pair reaches the end of the text independently.
28
Cadences
DC0303. 19-20
Guilliaud, Si mon grand mal
INVERTED CAD: S/T to D
(TEXT: OVERLAP with imitative duo for next phrase)
29
Cadences
DC0116.18-19
Janequin, Maistre Ambrelin
INVERTED CAD: S/B to E
30
Cadences
Monachus De preceptis artis musicae, Example 60
INVERTED CAD: S/T to D; S/T to E, S/T to C
31
Cadences
Sancta Maria, Arte de Tañer Fantasia, Ch 26 Ex 211
INVERTED CAD: S/B to G
COMMENT: According to Santa Maria, inverted cadences involving bassus can only occur in a medial position within a phrase.
32
Cadences
Menehou, Nouvelle instruction, Chap 25 Ex A
INVERTED CAD: Ct/T to C
(Also: DISPLACED CAD)
33
Cadences
DC0101.25-26
Certon, Qui souhaitez avoir
DISPLACED CAD Ct/B to A
34
Cadences
DC0112.27-28
James, Comme l’aymant
DISPLACED CAD T/B to F
(Also TEXT REPRESENT)
35
Cadences
DC0114.21-23
Pagnier, Trop justement
DISPLACED CAD Ct/B to E?
Comment: an unusual case, since it lacks a suspension formula, and the bassus reaches the end of the phrase before the other parts.
Text Representation: prolongation of phyrgian formula at “que merite la peine”.
(Also TEXT REPRESENT)
36
Cadences
Sancta Maria, Arte de Tañer Fantasia, Ch26 Ex199
DISPLACED CAD Ct/B to C Ct/B to E [Also PHRYGIAN]
37
Cadences
Sancta Maria, Arte de Tañer Fantasia, Ch26 Ex208
DISPLACED CAD T/B to G T/B to G
38
Cadences
Vicentino, Ancient Music, Ch 33
DISPLACED CAD
39
“Demonstration of the Soprano Cadence Placed in the Alto, Tenor, and Bass of Tempered and Mixed Music, and Five Kinds of Varied Cadences as Made by the Bass with All the Other Parts”
“Sometimes a composer needs to move cadential actions from one part to another for the sake of variety. Every time a part takes over the technique of making a cadence from another part, the former adopts the cadential action of the latter. For instance, should the contralto make cadential action of the soprano, the latter makes the cadential action of the contralto; and should the tenor make the cadential action of the soprano, the soprano makes the cadence of the tenor; the the same occurs in the bass when the soprano makes its cadence.” [Quoted in Maniates, ed, p. 180]
Cadences
Menehou. Nouvelle instruction, Ch 25 Ex A
DISPLACED CAD Ct/T to C [Also INV]
40
Cadences
DC0102.24-25
Regnes, Venons au poinct
EVADED CAD: S/T to D; B up2
Here the cadential motion is complete in the S/T. But the bassus undermines the closure of that movement.
41
Cadences
Zarlino
EVADED CAD:
COMMENT: NO EXPLANATION OF WHICH CONSTITUTE THE EVADED CADENCES, BUT THE EXAMPLE CONTAINS MANY PASSAGES IN WHICH A CADENCE IS IMPLIED, THEN AVOIDED! SEE THE BOXED EXCERPTS! ONLY THOSE WITH 7-6 SUSPENSIONS ARE BEST CONSIDERED CADENCES.
42
Cadences
DC0303.23-28
Guilliaud, Si mon grand mal
Evaded CAD: S/T to D (first ending). Here the closure of the suspension formula is undermined by the tenor, which ascends.
CAD: S/T to D (complete; second ending). Here the cadence is complete.
43
Cadences
DC0121.20-21
Certon, Mauldict soit-il
Evaded CAD: Ct to C (=7>8; no 2>1) [Also INV and TEXT REPRESENTATION]
44
Cadences
DC0502.6-8.
Godart, J’ay le fruict desiré
INCOMPLETE CAD: S to G (=7>8) no 2>1
45
Cadences
INTERVAL PATTERNS
46
DC 0317. 18-21
Le Gendre, En l’eau
Parallel 6ths: S/T
Also Alternating 5/3: B/T
47
Interval Patterns
DC0502.17-20
Godart, J’ay le fruict desiré
Parallel 6ths: S/T
(also Romanesca: B/T; it’s also an example of HR DANCE see below)
48
Interval Patterns
DC0317. 1-4.
Le Gendre, En l’eau
Parallel 6ths: S/T
(also Romanesca: T/B)
49
Interval Patterns
DC0314. 2-7
Le Gendre, Ma bouche
Parallel 6ths: S /T
also Romanesca: T/B
50
Interval Patterns
Burtius, Musices Opusculum, Chap 5 Ex A
Parallel 6ths: S /T
51
Interval Patterns
Monachus, De Preceptis artis musicae, Ex 59
Parallel 6ths: S /T
(also Alternating 3/5: T/B)
(Comment: In such textures, the Ct normally moves in 3/4 with S or T)
52
Interval Patterns
Sancta Maria, Le Arte de Tañer Fantasia, Ch 11 Ex 267a
Parallel 6ths: S /T
(also Alternating 3/5: T/B)
(Comment: Normally the Ct moves in 3/4 with either S and T)
53
Interval Patterns
Sancta Maria, Le Arte de Tañer Fantasia, Ch 11 Ex 267b
Parallel 6ths: S /T
(also Alternating 3/5: T/B)
(Comment: Ct moves in 3/4 with either S or T)
54
Interval Patterns
DC0502.23-25
Godart, J’ay le fruict desiré
Parallel 3rds: S/Ct
(also: Romanesca: S/B; NB: T makes 3rd or 4th with Ct)
55
Interval Patterns
DC0922.1-4
Le Rat, O cruaulté
Parallel 3rds: S/Ct
(also: Romanesca: S/B; NB : T makes 4/3 with Ct)
56
Interval Patterns
Burtius, Musices Opusculum, Chap 5 Ex A
Parallel 3rds: S /T
57
Interval Patterns
Gafori, Practica musicae, Chap 12
Parallel 3rds: S/T
Comment: Described by Gaffurius as "A certain very famous procedure has been instituted in counterpoint in which notes of the baritonans p
roceed in parallel tenths with those of the cantus, the tenor moving in concord with both." Cited in C. Miller, MSD 40, Chapter 12.
58
Interval Patterns
Heinrich Isaac, La morra, mm. 36-42 (after Isaac, Werken, DTO/28, pp. 90-91).
Parallel 3rds: S/B
59
Interval Patterns
Vicente Lusitano, Trattado, fols. 20v-21r. Model for improvised counterpoint:
Parallel 3rds: S/T
(also: Alternating 3/5: S/B)
60
Interval Patterns
DC0317.20
Le Gendre, En l’eau jettes
Alternating 3/5 (sometimes 3/8): T/B
(Also Parallel 6ths: S/T; Meanwhile Ct moves 4/3 with S and T)
61
Interval Patterns
DC0502.23-25
Godart, J’ay le fruict desiré
Alternating 3/5: S/B (also: Romanesca: S/B; T makes 4/3 with Ct)
62
Interval Patterns
DC0314.1-7
Le Gendre, Ma bouche n’ose dire
Alternating 3/5: T/B
(also Romanesca T/B, Parallel 6ths S/T, and HR DANCE presentation type)
63
Trattato Grande di musica pratica
Trattato Grande di musica pratica
Interval Patterns
DC0922.1-4
Le Rat, O cruaulté
Alternating 3/5: S/B
(also: Parallel 3rds: S/Ct; T makes 4/3 with Ct)
64
Interval Patterns
Burtius, Musices Opusculum, Chapter 5
Alternating 3/5: S/T
(also: Parallel 3rds: S/Ct)
65
Superius
Contratenor
Tenor
Interval Patterns
Monachus, De Preceptis artis musicae, Ex 59
Alternating 3/5: T/B
(also: Parallel 6ths: S/T; Ct makes 4/3 with S and T)
66
Interval Patterns
Sancta Maria, Le Arte de Tañer Fantasia, Chapter 11 Ex 267
Alternating 3/5: S/B
(also: Parallel 6ths: S/T; Meanwhile Ct makes 4/3 with S and T)
67
Interval Patterns
DC0104.5-7
Le Gendre, Cherchant amour
Romanesca: S/T, S/B
(also Alternating 8/3 S/T, S/B; TEXT REPRESENTATION)
68
Interval Patterns
DC0317.1-4
Le Gendre, En l’eau
Romanesca: T/B (also: Parallel 6ths: S/T)
69
Interval Patterns
DC0502.23-25
Godart, J’ay le fruict desiré
Romanesca: S/B
(also: Parallel 3rds: S/T; Ct in 4/3 with S and T)
70
Interval Patterns
DC0314. 2-7
Le Gendre, Ma bouche
Romanesca: T/B (also Parallel 6ths: S /T)
71
Interval Patterns
PRESENTATION TYPES
72
DC0502.17-20
Godart, J’ay le fruict desiré
HR DANCE
(also Parallel 6ths: S/T, Romanesca: B/T)
73
Presentation Types
DC0314.1-7
Le Gendre, Ma bouche n’ose dire
HR DANCE
(also: ACC 6ths: S/T, ACC 5/3: T/B)
74
Trattato Grande di musica pratica
Trattato Grande di musica pratica
Presentation Types
DC0508.27-28
Guyon, Musiciens qui chantez
HR: Staggered Entries S/Ct/T> B
75
Presentation Types
DC0508.32-33
Guyon, Musiciens qui chantez
HR: Staggered Entries Ct/T/B> S
76
Presentation Types
DC0508.32-33
Guyon, Musiciens qui chantez
HR DACTYLLIC: reserve this for the START of a poetic line.
77
Presentation Types
DC0905.21-22
Archadelt, Je ne suis pas
HR FAUXBOURDON
(also: TEXT REPRESENTATION)
78
Presentation Types
DC 0502.1-4
Godart, J’ay le fruit desiré
Free Imitation: T>S @8 above.
[Also: S/T in 6ths; CAD S/T to B-flat.]
79
Presentation Types
DC0517.1-4
Du Tertre, Un jour dormoit
Free Imitation: T>S @5 above; Ct>B @4th below.
[Comment: No repeating vertical sonorities, thus not modular Imitative Duo]
80
Presentation Types
DC0904.25-28
Maillard, Si je cuidois
Free Imitation: S > Ct @5 below; followed by T > B @5 below
[Comment: No repeating vertical sonorities, thus no Imitative Duo modules.
Nevertheless resembles Stretto Fuga formula @8 and @5 below: rising 4ths, falling 3rds
81
Presentation Types
DC0303.1-4
Guilliaud, Si mon grand mal
Non Imitative Duo: S/Ct > T/B.
82
Presentation Types
DC0310.1-4
Martin, Celer me puis,
Non Imitative Duo: S/Ct > T/B.
83
Presentation Types
84
DC0509.1-5
Guyon, Musiciens qui chantez
Non Imitative Duo S/Ct > T/B.
Presentation Types
85
Cerone, El melopeo y maestro, Ex 813A
Non Imitative Duo S/Ct > T/B.
Presentation Types
86
Cerone, El melopeo y maestro, Ex 813B
Non Imitative Duo: S/T > Ct/B.
Presentation Types
87
Cerone, El melopeo y maestro,, Ex 813H
Non Imitative Duo: S/T > B/Ct. + Invertible Counterpoint
Presentation Types
88
Cerone, El melopeo y maestro, Ex 813I
Non Imitative Duo: Ct/S > B/T.
Presentation Types
DC0305. 9-13
Frougy, Sus, sus
Imitative Duo: B>T @ 5 above, then Ct>S @ 5 above.
89
Presentation Types
DC0320.19-23
Anon. Un mesnagier
Imitative Duo: S>Ct @5 below, T>B @5 below
[Comment: Tenor motive anticipates main subject. It is not part of the ID itself.]
90
Presentation Types
DC0925.35-38
Crequillon, C’est à grand tort
Imitative Duo: Ct>S @4 above, B>T @4 above
91
Presentation Types
DC0311. 1-4
Decapella, Un viel soudard
Imitative Duo: T>B @ 4 below, and S>Ct @ 5 below
[Comment: Each duo is itself repeated within the same two voices.]
92
Presentation Types
DC0520.45-49
Guyon, Quelque yvrongne
First Imitative Duo:: Ct>T @4 below, T>B @4 below
Second Imitative Duo: + Invertible Counterpoint S>Ct @ 5 ; Ct>S @5 above is a contrapuntal inversion of the first, at differing time intervals
93
Presentation Types
DC0320.2-5
Anon. Un mesnagier
First Imitative Duo: Ct>S @ 5 above, repeated.
Second Imitative Duo + Invertible Counterpoint: T>B @ 4 below; is a contrapuntal inversion of the first.
[Comment: Second statement incomplete due to OVERLAP with next line and subject.]
94
Presentation Types
DC0523.1-4
Goudimel, Jamais amour
Imitative Duo + Invertible Counterpoint Ct>T @4th below; B>S @5th above
[Comment: Imitative Duo is “hidden”, since the repeating module is delayed, and is heard between S and T (not B)]
Also TEXT REPRESENTATION: dissonance at “amours sans guerre n’est parfaict”
Also TEXT REPRESENTATION: incomplete cadence “at “amours sans guerre n’est parfaict”
95
Presentation Types
DC0508.5-9
Guyon, Musiciens qui chantez
Imitative Duo: Ct>S @5 above; B>T@5 above. RED
Also:
Periodic Entries + Invertible Counterpoint @1, @5 [twice!] See BLUE;
Periodic Entries (stacked entries @5 above) See GREEN
TEXT REPRESENTATION: “faire valoir la notte” in context of poem about musical knowledge
96
Presentation Types
97
DC0926.1-4
Du Tertre, Ne vous faschez
Imitative Duo: S>T, Ct>B
+ Stretto fuga formula: @8 below; @ 1 Time Interval: down 4, up 3; here combined in two overlapping statements.
Presentation Types
98
Cerone, El melopeo y maestro, Ex 816E
Imitative Duo: S>T, T>B @8 below
Presentation Types
99
Cerone, El melopeo y maestro, Ex 818D
Imitative Duo: S>Ct, T>B @4 below
Presentation Types
100
Cerone, El melopeo y maestro, Ex 820E
Imitative Duo: Ct>S, B<T @5 above
Comment: Long time interval between entries
Presentation Types
101
Cerone, El melopeo y maestro, Ex 824B
Imitative Duo: S>Ct, T>B @5 below
Presentation Types
102
Cerone, El melopeo y maestro, Ex 824D
Imitative Duo: S>Ct, T>B @5 below
Presentation Types
103
Sancta Maria, Le Arte de Tañer Fantasia, Chapter 35 Ex 389
Imitative Duo: S>T @ 8 below; Ct>B @8 above @ 2 TI
Presentation Types
DC0901.1-5
Gervaise, Je ne cognois
Periodic Entries: @8 below S>T>B
[Comment: Ct is not part of the modular pattern. Unusual time interval of 3 SB between entries.]
[Also see next DC0901 example]
104
Presentation Types
DC0901.39-43
Gervaise, Je ne cognois
Period Entries: @8 below S>T>B
[Comment: Anticipatory Bassus entry is not part of the modular pattern. Unusual time interval of 3 SB between entries]
[Also see previous DC0901 example]
105
Presentation Types
DC0316. 1-5
Goudimel, Comme le feu
Periodic Entries: @8 below, @5 above + Invertible Counterpoint: S>T>B>Ct [the last with INV @5]
106
Presentation Types
DC0508.5-9
Guyon, Musiciens qui chantez
Periodic Entries: @8 above, @4 below + Invertible Counterpoint: B>Ct>T [See arrows]
Also: Imitative Duo (in RED)
107
Presentation Types
DC0112.1-5
James, Comme l’aymant
Periodic Entries: @5 above, @8 above/below + Invertible Counterpoint: B>Ct>S>T
108
Presentation Types
DC0119.6-8
Du Tertre, J’ay d’un costé
Periodic Entires @5 below, @8 above + Invertible Counterpoint Ct>B>T>S
109
Presentation Types
DC0215.4-6
Du Tertre, Dieu doinbt
Periodic Entries: @5 below @8 above + Invertible Counterpoint: S>B>CT [also: stretto fuga formula]
110
Presentation Types
DC0925.1-2
Crecquillon, C’est à grant tort
Periodic Entries: @8 below @5 above + Invertible Counterpoint: S>T>Ct [also: stretto fuga formula]
111
Presentation Types
Cerone, El melopeo y maestro, 821F
Periodic Entries: @8 below @5 above + Invertible Counterpoint: S>T>Ct>B
112
Presentation Types
Sancta Maria, Le Arte de Tañer Fantasia, Chapter 33 Ex 374
Periodic Entries @8 below @5 above + Invertible Counterpoint: S>B>Ct
[ + stretto fuga in rising thirds, fifths and falling fourths, sixths @ 1 Time interval]
[top staff shows structural pattern of melody]
Comment: ossia part shows structural tones of the fuga theme
113
Presentation Types
DC0313.5-6
Martin, Un jeune moine
Periodic Entry (stacked @5) T>Ct>S, but without modular repetition of counterpoint) See arrows.
Also PEn (tonal) Ct>S>T; red/blue
Also Imitative Duo: Ct>S @4 above; B>T@4 above (with tonal adjustment) red
Also: Imitative Duo + Invertible Counterpoint: Ct>T @5 below See green
114
Presentation Types
DC0313.1-5
Martin, Un jeune moine
Periodic Entries (tonal) Ct>S>T; see arrows
Also Imitative Duo: Ct>S @4 above; B>T@4 above (with tonal adjustment) red,
Imitative Duo + Invertible Counterpoint: Ct>T @5 below green, and
Periodic Entries (stacked, but without modular repetition of counterpoint)] See orange
115
Presentation Types
Sancta Maria, Le Arte de Tañer Fantasia, Chapter 33, Exs 366a and 366b
Stretto fuga formula: stepwise ascent @4 or @5 above, @ 1 or 2 time intervals
116
Presentation Types
Sancta Maria, Le Arte de Tañer Fantasia, Chapter 33, Exs 366c and 366d
Stretto fuga formula: stepwise ascent or descent @4 or @5 below, @ 1 or 2 time intervals
117
Presentation Types
Sancta Maria, Le Arte de Tañer Fantasia, Chapter 33, Exs 367a and 367b
Stretto fuga formula: stepwise descent @4 or @5 below, @ 1 or 2 time intervals
118
Presentation Types
Sancta Maria, Le Arte de Tañer Fantasia, Chapter 33, Exs 367c and 367d
Stretto fuga formula: stepwise descent @4 or @5 above, @ 1 or 2 time intervals
119
Presentation Types
DC0302.44-46
Anon., Sans avoir faict
Stretto fuga formula: stepwise descent @8 above and @5 below, @ 2 time intervals
120
Presentation Types
Sancta Maria, Le Arte de Tañer Fantasia, Chapter 33 Exs 370a
Stretto fuga formula: @5 above; also works @4 below, @ 1 time interval
[Implicit rule: structural tones can ascend thirds, descend by seconds.]
121
Presentation Types
Sancta Maria, Le Arte de Tañer Fantasia, Chapter 33 Ex 371
Stretto fuga formula: @5 below and @4 above, @ 1 time interval
[Implicit rule: structural tones can ascend second, descend by thirds.]
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Presentation Types
Sancta Maria, Le Arte de Tañer Fantasia, Chapter 33 Ex 372
Stretto fuga model: @8 above, @ 1 time interval
[Implicit rule: structural tones can ascend fourth, descend by thirds.]
123
Presentation Types
Sancta Maria, Le Arte de Tañer Fantasia, Chapter 33 Ex 373
Stretto fuga formula: @8 below, @ 1 time interval
[Implicit rule: structural tones can ascend third, descend by fourth.]
124
Presentation Types
125
DC0926.1-4
Du Tertre, Ne vous faschez
Stretto fuga formula: @8 below; @ 1 Time Interval
Implicit rule: down 4, up 3; here combined in two overlapping statements. as Imitative Duos
Presentation Types
DC0114.4-6
Pagnier, Trop justement
Stretto fuga formula: @8 and @5 below:
Implicit rule: up 4, down 3
measures 4-5: Periodic Entries @1, @5 T>S>B [with Invertible Counterpoint @5th]
measures 6-7: FI: T>B @5th [recalls previous motive]
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Presentation Types
DC0125.4-6
Bastard, Si ton plus grand
Stretto fuga formula: @8 above and @5 below @1 Time interval.
Implicit rule: up 4ths, down 3rds
Also Periodic Entries @1, @5 + Invertible Counterpoint: S>B>Ct
127
Presentation Types
DC0925.1-2
Crecquillon, C’est à grand tort
Stretto fuga: @8, @5 above; @ 1 Time interval
Implicit rule: rising 3rds.
Also: Periodic Entries @8, @5 S>T>Ct
128
Presentation Types
DC0320.26-30
Anon., Un mesnagier
Stretto fuga: Ct>S @4 above; T>B @ 5 below; T>Ct @5 above,
@ 1 Time interval, with syncopation.
Implicit rule: descending seconds
Also: ID + INV
129
Presentation Types
TEXTS
130
131
DC0304.1-10
Godart, J’ay le fruit desiré
TEXT REPEAT: vv. 1-2 = vv. 3-4; Exact.
TEXT
132
DC 0502.1-15
Godart, J’ay le fruit desiré
TEXT REPEAT: vv 1-2 = vv 3-4, varied.
Comment: different endings at end of first two couplets: INCOMPLETE CAD and CAD
TEXT
133
DC0303.24-28
Guilliaud, Si mon grand mal
TEXT REPEAT: v. 8; Varied.
Comment: With “open” and “closed” endings: the first is “evaded”, the second is normal.
TEXT
134
DC0908.1-7=29-37
Bonnefond, Las si amour
TEXT REPRISE: v. 4=1; Exact.
TEXT
135
DC0503.1-8=18-25=36-43.
Olivier, Vous estes un fascheux homme
TEXT REFRAIN: varied, vv. 1/2 = 8/9 = 15/16.
Comment: each couplet ends with the same HR refrain.
TEXT
DC0922.17-22
Le Rat, O cruaulté
TEXT ENJAMBMENT
(Also PLAGAL CAD to D)
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TEXT
DC0303.17-21
Guilliaud, Si mon grand mal
TEXT OVERLAP
Comment: Inverted cadence to D overlaps with Free Imitation T>S for next phrase. The Ct enters on a 5th above the final note of the arriving cadence.
(Also INV CAD: S/T to D)
137
TEXT
DC0122.21-22
de Villiers, Amour et mort
TEXT OVERLAP
Comment: Displaced cadence to F overlaps with Periodic Entries + Invertible Counterpoint in next verse (S>B>Ct). The S enters a 5th degree above the final note of the arriving cadence.
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TEXT
DC0122.26-27
de Villiers, Amour et mort
TEXT OVERLAP
Comment: Displaced cadence overlaps with FI, resulting in evaded cadence (S/Ct to C), at line “commander de cesser”. Also Text Representation?
139
TEXT
DC0917.7-8
Bonard, Amour voyant
TEXT OVERLAP
Comment: Two overlapping displaced Phrygian cadences (to D, A) link two lines of text, all part of one thought.
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TEXT
DC0108. 4-6
Martin, Celler ne puis
TEXT REPRESENTATION:
Comment: displaced Phrygian cadence to D, at “morte”
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TEXT
DC0112.27-28
James, Comme l’aymant
TEXT REPRESENTATION:
Comment: displaced cadence to T/B F, at “ne peult vivre”
142
TEXT
DC0114.29-32
Pagnier, Trop justement
TEXT REPRESENTATION:
Comment: melodic, contrapuntal and registral inversions at “mais au rebours”
143
TEXT
DC0114.43-46
Pagnier, Trop justement
TEXT REPRESENTATION:
Comment: long Phrygian preparation for a cadence S/T to A at “cruauté et de toute rigeur”
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TEXT
DC0922.1-8
Le Rat, O cruaulté
TEXT REPRESENTATION
Comment: Tri-tone leap betwee adjacent phrases, mm. 4-5. The dissonance is heard at the center of a chiastic pair of verses describing how ‘cruelty’ is housed within such ‘beauty’.
145
TEXT
Trattato Grande di musica pratica
Trattato Grande di musica pratica
DC0119.21-24
Du Tertre, J’ay d’un costé
TEXT REPRESENTATION
Comment: Descending tetrachord in superius, harmonized first with plagal cadence, then with plaintive E-flats.
Text: “tourmente”.
146
TEXT
DC0121.20-21
Certon, Mauldict soit-il
TEXT REPRESENTATION
Comment: Evaded, displaced, and inverted cadence for “?”
147
TEXT
DC0303.16
Guilliaud, Si mon grand mal
TEXT REPRESENTATION
Comment: Phrygian cadence Ct/B to E, displaced, at “et si se meurt”
148
TEXT
DC0917.7-8
Bonard, Amour voyant
TEXT REPRESENTATION
Comment: Two overlapping displaced Phrygian cadences (to D, A) for “travail soucieux, Que je souffrois”
149
TEXT
DC0104.5-7
Le Gendre, Cherchant amour
TEXT REPRESENTATION
Comment: Obsessive repetition of melody and romanesca at “devant mes yeulx”
150
TEXT
DC0523.1-4
Goudimel, Jamais amour
TEXT REPRESENTATION
Comment: dissonance at “amours sans guerre n’est parfaict”
151
TEXT
DC0905.21-22
Archadelt, Je ne suis pas
TEXT REPRESENTATION
Comment: fauxbourdon texture at “et puis mon flageolet auriez”
152
TEXT
DC0303.9
Guilliaud, Si mon grand mal
TEXT DECLAMATORY
153
TEXT
DC0119.22-24
Du Tertre, J’ay d’un costé
TEXT DECLAMATORY
154
TEXT
GENERICS. RARITIES.
155
DC0407. Maillart, Amour se doibt and DC0408. Pagnier, Plaisir, prouffit
CITATION: Chanson-Response pair
Comment: Acc 3rds S/Ct become Acc 6ths S/T; 5/3 S/B become 5/3 T/B
156
Amour se doibt figurer une rose,
Dont pour un temps l’odeur on peult tirer,
Mais amitié est trop plus grande chose,
Qui bien au vray la veult considerer :
Car amour n’est qu’un desir d’aspirer
A quelque fin, pour un contentement :
Mais d’amytié l’on en peult retirer,
Plaisir, prouffit, honneur, advancement.
Plaisir, prouffit, honneur, advancement,
Maintz gens ont eu pour à l'amour attaindre,
Qui rend aux siens un tel contentement,
Que dire peulx amitié trop plus moindre
Que n'est amour, lequel si voulois paindre
En une fleur, et que mortelle chose
Feust un rosier, lors dirois sans nul craindre,
Amour se doibt figurer une rose.