CRIM

Citations: The Renaissance Imitation Mass Project

Observation <197>

Observer: Max Le Mée

<R99> Mechanical transformation, Non-mechanical transformation — Model for <198> Missa Vidi speciosam: Credo

Engraved by Verovio 2.2.0-dev-[undefined] 34 lis, mis, cu mis, e rat ni ma bi lis o cu ius ius in mis, dor e e rat in ae sti ae sti ma bi rat ni ni ma bi lis o lis o dor e cu ius mis. dor e rat ni mis. in ae sti mis. Et sic ut rat ma bi lis o di es ni mis. Et dor. ver ni, Et sic ut

Soggetto, Counter-soggetto, Fuga

Voice:
Bassus

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

Voice: -

Rhythmic durations: True

Melodic intervals: True

Voices:
Bassus
Superius
PrimusTenor
SecundusTenor
Bassus
Contratenor
PrimusTenor
Superius
SecundusTenor

Melodic interval of entry: 8+5-4-5-7+6-5+8-

Time interval of entry: S2/1/1/2/1/2/1/2

Periodic: False

Strict: False

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Remarks: The end of the soggetto (the diatonic descent) is used as a counter-soggetto of its own, becoming independent on 'circumdabant'. This fact is important for Sohier will use this characteristic to produce a figuralism. I consider that the third entry, on the contra, starts one M later, for it is the only one that is 'flexed'.