CRIM

Citations: The Renaissance Imitation Mass Project

Observation <473>

Observer: Jon Oddie

<R237> Non-mechanical transformation — Model for <474> Benedicta es

Fuga

Voices:
Superius
Tenor
Bassus
Altus

Melodic interval of entry: 5-5-4+

Time interval of entry: S1/1/1

Periodic: False

Strict: False

Flexed: True

Sequential: True

Inverted: False

Retrograde: False

Remarks: The superius and tenor are in strict fuga at the lower fifth, as usual in this piece. The altus also follows the bassus in strict fuga at the lower fourth, but only the first two notes of the soggetto are the same between the superius/tenor and bassus/altus pairs. Possible hypothesis: having established the superius/tenor framework, Mouton attempted to elaborate it into a full four-voice stacked canon, but was forced to alter the third and fourth entrances because of contrapuntal difficulties?