CRIM

Citations: The Renaissance Imitation Mass Project

Observations

ID Observer Piece Observation type Show details
<2802> Stephanie Schlagel [CRIM_Mass_0005_3] Missa Ave Maria: Credo Form and process Expand

Form and process

Internal repetition: True

Range: 239-257

Comment: 239-248 repeats at 248-256 with T moved to A

<2803> Stephanie Schlagel [CRIM_Model_0008] Ave Maria Soggetto Expand

Soggetto

Voice:
[Superius]

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<2804> Stephanie Schlagel [CRIM_Mass_0005_3] Missa Ave Maria: Credo Soggetto Expand

Soggetto

Voice:
Tenor

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<2805> Alexis Risler [CRIM_Model_0023] Benedicta es Soggetto Expand

Soggetto

Voice:
Altus

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<2806> Alexis Risler [CRIM_Mass_0015_1] Missa Benedicta es: Kyrie Soggetto Expand

Soggetto

Voice:
[Contratenor]

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<2807> Alexis Risler [CRIM_Model_0023] Benedicta es Non-imitative duo Expand

Non-imitative duo

Voices:
Altus
Cantus
Quinta pars
Cantus

Melodic interval of entry: 1+

Time interval of entry: S6

Strict: False

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

<2808> Alexis Risler [CRIM_Mass_0015_1] Missa Benedicta es: Kyrie Non-imitative duo Expand

Non-imitative duo

Voices:
[Discantus]
[Contratenor]
[Contratenor]
[Bassus]

Melodic interval of entry: 8-

Time interval of entry: B4

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

<2809> Alexis Risler [CRIM_Model_0023] Benedicta es Fuga Expand

Fuga

Voices:
Altus
Quinta pars

Melodic interval of entry: 1+

Time interval of entry: B3

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<2810> Alexis Risler [CRIM_Mass_0015_1] Missa Benedicta es: Kyrie Fuga Expand

Fuga

Voices:
[Contratenor]
[Tenor]
[Tenor]
[Discantus]
[Bassus]

Melodic interval of entry: 4-5-12+12-

Time interval of entry: S6/2/7/1

Periodic: False

Strict: False

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<2811> Alexis Risler [CRIM_Model_0023] Benedicta es Non-imitative duo Expand

Non-imitative duo

Voices:
Tenor
Bassus
Quinta pars
Sexta pars
Cantus
Tenor
Cantus
Altus

Melodic interval of entry: 1+8+1+

Time interval of entry: S3/3/7

Strict: False

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

Remarks: Countersubject singleton in B mes. 12-14

<2812> Alexis Risler [CRIM_Mass_0015_1] Missa Benedicta es: Kyrie Fuga, Non-imitative duo Expand

Fuga, Non-imitative duo

Voices:
[Contratenor]
[Discantus]

Melodic interval of entry: 4+

Time interval of entry: S1

Periodic: False

Strict: False

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Voices:
[Discantus]
[Bassus]
[Contratenor]
[Tenor]
[Discantus]
[Bassus]

Melodic interval of entry: 5-5+

Time interval of entry: B5/4

Strict: False

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

<2813> Alexis Risler [CRIM_Model_0017] Benedicta es Fuga Expand

Fuga

Voices:
[Contratenor]
[Discantus]
[QuintaVox]
[Tenor]
[Contratenor]
[Discantus]
[QuintaVox]
[Tenor]

Melodic interval of entry: 7+4-5-2+7+4-5-

Time interval of entry: S1/1/2/1/1/1/2

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Remarks: Long fuga that includes two PENs: CDQ (mes. 86-88) and TCDQ (mes. 88-92)

<2814> Alexis Risler [CRIM_Mass_0015_1] Missa Benedicta es: Kyrie Fuga Expand

Fuga

Voices:
[Contratenor]
[Tenor]
[Discantus]
[Contratenor]
[Tenor]
[Bassus]
[Contratenor]
[Bassus]
[Tenor]
[Discantus]
[Tenor]
[Tenor]
[Contratenor]
[Tenor]
[Discantus]
[Contratenor]
[Bassus]
[Contratenor]
[Contratenor]
[Discantus]
[Contratenor]
[Contratenor]
[Tenor]
[Contratenor]

Melodic interval of entry: 12-15+4-5-4-7+11-9+7+11-7+7-4+4+11-9+1+4-11+8-5+4+4

Time interval of entry: M2/4/2/4/2/2/6/2/2/2/2/2/1/1/1/2/2/2/4/2/2/4/2/4/2/2

Periodic: False

Strict: False

Flexed: True

Sequential: False

Inverted: False

Retrograde: False

Remarks: This long Fuga is a MTI including PENs and IDs at S1 and S2

<2815> Alexis Risler [CRIM_Model_0017] Benedicta es Soggetto Expand

Soggetto

Voice:
[Bassus]

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

Remarks: Part of a module with Fuga in upper voices

<2816> Alexis Risler [CRIM_Mass_0015_1] Missa Benedicta es: Kyrie Imitative duo Expand

Imitative duo

Voices:
[Bassus]
[Tenor]
[Tenor]
[Bassus]
[Tenor]
[Bassus]

Melodic interval of entry: 4-4+4-4+4-

Time interval of entry: M2/4/2/4/2

Strict: True

Flexed: False

Flexed, tonal: False

Invertible: False

Remarks: Part of a module with fuga in upper voices

<2817> Alexis Risler [CRIM_Model_0017] Benedicta es None -

Observation

<2818> Alexis Risler [CRIM_Mass_0015_2] Missa Benedicta es: Gloria Fuga Expand

Fuga

Voices:
Bassus
Bassus

Melodic interval of entry: 5-

Time interval of entry: S2

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<2819> Alexis Risler [CRIM_Model_0017] Benedicta es None -

Observation

<2820> Alexis Risler [CRIM_Mass_0015_2] Missa Benedicta es: Gloria Fuga, Interval patterns Expand

Fuga, Interval patterns

Voices:
Contratenor
Bassus
Tenor

Melodic interval of entry: 5-4+

Time interval of entry: S1/2

Periodic: False

Strict: False

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Voices:
Discantus
Bassus

Parallel 6: False

Parallel 3 (or 10): True

Chained 3 and 5: False

Chained 8 and 3: False

Chained 6 and 5: False

<2821> Alexis Risler [CRIM_Model_0017] Benedicta es None -

Observation

<2822> Alexis Risler [CRIM_Mass_0015_2] Missa Benedicta es: Gloria Imitative duo, Non-imitative duo Expand

Imitative duo, Non-imitative duo

Voices:
Contratenor
Bassus
Contratenor
Discantus

Melodic interval of entry: 5-5+4+

Time interval of entry: S1/3/1

Strict: False

Flexed: False

Flexed, tonal: False

Invertible: True

Voices:
Bassus
Bassus
Discantus
Bassus

Melodic interval of entry: 11+

Time interval of entry: B2

Strict: False

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

Remarks: 3-voice module

<2823> Jon Oddie [CRIM_Model_0023] Benedicta es Soggetto, Fuga Expand

Soggetto, Fuga

Voice:
Cantus

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

Voices:
Altus
Quinta pars

Melodic interval of entry: 1+

Time interval of entry: B3

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<2824> Jon Oddie [CRIM_Model_0022] Benedicta es None -

Observation

<2825> Alexis Risler [CRIM_Model_0017] Benedicta es None -

Observation

<2826> Alexis Risler [CRIM_Mass_0015_2] Missa Benedicta es: Gloria Imitative duo, Non-imitative duo Expand

Imitative duo, Non-imitative duo

Voices:
Bassus
Tenor
Bassus
Discantus

Melodic interval of entry: 4+4-11+

Time interval of entry: B2/4/2

Strict: False

Flexed: False

Flexed, tonal: False

Invertible: False

Voices:
Discantus
Bassus
Tenor
Bassus

Melodic interval of entry: 8+

Time interval of entry: B7

Strict: False

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

Remarks: 4-voice modules In the 2nd NIM, only the top voice is transposed 8-, the other is 1+

<2827> Jon Oddie [CRIM_Model_0023] Benedicta es Soggetto Expand

Soggetto

Voice:
Altus

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

<2828> Jon Oddie [CRIM_Model_0022] Benedicta es Soggetto Expand

Soggetto

Voice:
undefined (1)

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

<2829> Jon Oddie [CRIM_Model_0023] Benedicta es Non-imitative duo Expand

Non-imitative duo

Voices:
Tenor
Bassus
Quinta pars
Sexta pars
Cantus
Tenor
Cantus
Altus

Melodic interval of entry: 1+8+1+

Time interval of entry: S3/3/7

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

Remarks: The rhythmicised chant soggetto provides one voice of a two-voice NIm presented four times in different voice pairs. Between the third and fourth presentations, there are some more fragmentary entrances: the altus in bb. 12-13 has just the cantizans tail-motive, and the quinta pars in bb. 11-14 has a chimeric entrance consisting of the first five notes of the countersubject joined to the last five notes of the chant soggetto; this forms a partial presentation of the NIm with the countersubject in the bassus.

<2830> Jon Oddie [CRIM_Model_0022] Benedicta es Soggetto Expand

Soggetto

Voice:
undefined (1)

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

<2831> Alexis Risler [CRIM_Model_0023] Benedicta es Non-imitative duo Expand

Non-imitative duo

Voices:
Altus
Cantus
Quinta pars
Cantus

Melodic interval of entry: 1+

Time interval of entry: S6

Strict: False

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

<2832> Alexis Risler [CRIM_Mass_0015_4] Missa Benedicta es: Sanctus Fuga Expand

Fuga

Voices:
Contratenor
Tenor
Bassus

Melodic interval of entry: 5-8-

Time interval of entry: B1/4

Periodic: False

Strict: False

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Remarks: "fake entries" in C2 mes.1; B1 mes. 5; C2 mes. 5

<2833> Alexis Risler [CRIM_Model_0023] Benedicta es Soggetto Expand

Soggetto

Voice:
Cantus

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<2834> Alexis Risler [CRIM_Mass_0015_4] Missa Benedicta es: Sanctus Soggetto Expand

Soggetto

Voice:
Discantus

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<2835> Alexis Risler [CRIM_Model_0023] Benedicta es Non-imitative duo Expand

Non-imitative duo

Voices:
Tenor
Bassus
Quinta pars
Sexta pars
Cantus
Tenor
Cantus
Altus

Melodic interval of entry: 1+8+1+

Time interval of entry: S3/3/7

Strict: False

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

Remarks: Cs "singleton" in B. mes. 12-14

<2836> Alexis Risler [CRIM_Mass_0015_4] Missa Benedicta es: Sanctus Imitative duo, Non-imitative duo Expand

Imitative duo, Non-imitative duo

Voices:
Contratenor
Tenor
Discantus
Contratenor

Melodic interval of entry: 5-5+4+

Time interval of entry: S1/7/1

Strict: True

Flexed: False

Flexed, tonal: False

Invertible: True

Voices:
Contratenor
Bassus
Contratenor
Tenor

Melodic interval of entry: 1+

Time interval of entry: B4

Strict: False

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

Remarks: In the second NIM, the lower part is splitted between T and B2

<2837> Stephanie Schlagel [CRIM_Model_0008] Ave Maria Fuga Expand

Fuga

Voices:
Altus
[Superius]
Tenor
Altus

Melodic interval of entry: 1+6+5-4+

Time interval of entry: S12/15/1/5

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<2838> Stephanie Schlagel [CRIM_Mass_0005_3] Missa Ave Maria: Credo Periodic entry, Imitative duo Expand

Periodic entry, Imitative duo

Voices:
Altus
Bassus
Sup[erius]
Altus
Bassus
Sup[erius]
Altus
Bassus
Tenor
Sup[erius]
Altus
Bassus
Sup[erius]

Melodic interval of entry: 5-8+1+5-8+1+4-8+1+1-5-8+

Time interval of entry: S1/1/3/1/1/1/1/1/1/1/2/1/1

Strict: False

Flexed: True

Flexed, tonal: False

Sequential: False

Added: False

Invertible: True

Voices:
Sup[erius]
Altus
Sup[erius]
Altus

Melodic interval of entry: 5-5+5-

Time interval of entry: S2/7/2

Strict: True

Flexed: False

Flexed, tonal: False

Invertible: False

Remarks: 1st note A and B entries in mm. 266 overlap last notes of previous entries. Invertible counterpoint at the 12th. Modules=5-4-3-3-3 and 8-9-10-10-10

<2839> Alexis Risler [CRIM_Model_0023] Benedicta es Non-imitative duo Expand

Non-imitative duo

Voices:
Tenor
Bassus
Quinta pars
Sexta pars
Cantus
Tenor
Cantus
Altus

Melodic interval of entry: 1+8+1+

Time interval of entry: S3/3/7

Strict: False

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

Remarks: CS "singleton" in B mes. 12-14

<2840> Alexis Risler [CRIM_Mass_0015_4] Missa Benedicta es: Sanctus Imitative duo, Non-imitative duo Expand

Imitative duo, Non-imitative duo

Voices:
Contratenor
Discantus
Contratenor
Tenor

Melodic interval of entry: 4+4-5-

Time interval of entry: S1/5/1

Strict: True

Flexed: False

Flexed, tonal: False

Invertible: False

Voices:
Contratenor
Tenor
Contratenor
Tenor

Melodic interval of entry: 1+

Time interval of entry: S6

Strict: False

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

Remarks: Lower voice in the first NIM is splitted between T and B1 Added entries of the sogetto before and after the IDs

<2841> Alexis Risler [CRIM_Model_0017] Benedicta es None -

Observation

<2842> Alexis Risler [CRIM_Mass_0015_4] Missa Benedicta es: Sanctus Fuga Expand

Fuga

Voices:
Contratenor
Discantus
Contratenor

Melodic interval of entry: 4+4-

Time interval of entry: S1/2

Periodic: False

Strict: False

Flexed: True

Sequential: False

Inverted: False

Retrograde: False

<2843> Alexis Risler [CRIM_Model_0017] Benedicta es None -

Observation

<2844> Alexis Risler [CRIM_Mass_0015_4] Missa Benedicta es: Sanctus Imitative duo Expand

Imitative duo

Voices:
Tenor
Contratenor
Tenor
Contratenor

Melodic interval of entry: 1+1+1+

Time interval of entry: S2/8/2

Strict: False

Flexed: False

Flexed, tonal: False

Invertible: False

<2845> Alexis Risler [CRIM_Model_0017] Benedicta es None -

Observation

<2846> Alexis Risler [CRIM_Mass_0015_4] Missa Benedicta es: Sanctus Periodic entry Expand

Periodic entry

Voices:
Contratenor
Contratenor
Tenor
Tenor
Contratenor
Contratenor
Tenor
Contratenor
Tenor

Melodic interval of entry: 1+5-8+5-8+5-

Time interval of entry: S1/1/6/1/1/6/1/1

Strict: False

Flexed: False

Flexed, tonal: False

Sequential: False

Added: False

Invertible: False

Remarks: Not a long PEN with 9 entries, but a PEN repeated twice, so 3x3 entries

<2847> Alexis Risler [CRIM_Model_0017] Benedicta es None -

Observation

<2848> Alexis Risler [CRIM_Mass_0015_5] Missa Benedicta es: Agnus Dei Fuga, Non-imitative duo Expand

Fuga, Non-imitative duo

Voices:
[Discantus]
[Contratenor]
[Bassus]
[SextaVox]
[Tenor]
[SextaVox]
[Bassus]

Melodic interval of entry: 4-5-1+2+1+5-

Time interval of entry: S3/1/1/8/1/1

Periodic: False

Strict: False

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Voices:
[Tenor]
[SextaVox]
[Discantus]
[QuintaVox]
[QuintaVox]
[Tenor]
[Contratenor]
[Discantus]

Melodic interval of entry: 5+8-4+

Time interval of entry: S9/9/2

Strict: False

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: True

Remarks: Fuga is made of the lower voice of the first NIM

<2849> Alexis Risler [CRIM_Model_0017] Benedicta es None -

Observation

<2850> Alexis Risler [CRIM_Mass_0015_5] Missa Benedicta es: Agnus Dei Fuga Expand

Fuga

Voices:
[SextaVox]
[Bassus]
[Contratenor]
[Tenor]
[SextaVox]
[QuintaVox]
[Bassus]

Melodic interval of entry: 1+5+4+12-8+5-

Time interval of entry: M2/1/2/5/5/2

Periodic: False

Strict: False

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<2851> Jon Oddie [CRIM_Model_0023] Benedicta es Fuga, Imitative duo Expand

Fuga, Imitative duo

Voices:
Bassus
Tenor
Sexta pars
Altus
Quinta pars
Cantus
Bassus

Melodic interval of entry: 4+2-5+1+5+9-

Time interval of entry: M2/6/2/6/2/8

Periodic: False

Strict: False

Flexed: True

Sequential: False

Inverted: False

Retrograde: False

Voices:
Tenor
Sexta pars
Cantus
Bassus

Melodic interval of entry: 2-9+2-

Time interval of entry: M6/10/8

Strict: False

Flexed: True

Flexed, tonal: False

Invertible: False

Remarks: The chant is used as the subject of a complex passage involving both fuga and non-imitative duos (recorded in separate relationships). The most extensive entrances are in the tenor and cantus; the other voices take only a three-note head-motive from the chant melody. The combination of the long tenor entrance with the three-note head-motive in the sexta pars forms a miniature imitative duo which is repeated by the cantus and bassus. More significant modular repetition arises from the presence of countersubjects (analysed separately)

<2852> Jon Oddie [CRIM_Model_0022] Benedicta es Soggetto Expand

Soggetto

Voice:
undefined (1)

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

<2853> Jon Oddie [CRIM_Model_0023] Benedicta es Non-imitative duo Expand

Non-imitative duo

Voices:
Tenor
Bassus
Cantus
Sexta pars

Melodic interval of entry: 8+

Time interval of entry: S8

Strict: False

Flexed: True

Flexed, tonal: False

Sequential: False

Invertible: False

Remarks: This is the simpler of the two non-imitative modules in which the chant soggetto participates in this passage

<2854> Jon Oddie [CRIM_Model_0022] Benedicta es Soggetto Expand

Soggetto

Voice:
undefined (1)

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

<2855> Jon Oddie [CRIM_Model_0023] Benedicta es Non-imitative duo Expand

Non-imitative duo

Voices:
Altus
Tenor
Sexta pars
Cantus
Altus
Quinta pars

Melodic interval of entry: 5+

Time interval of entry: S5

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

Remarks: This is a *3-voice* NIm with two presentations. The top voice has a three-note head-motive derived from the chant; the middle voice is an independent motive consisting of a rising fourth followed by a cantizans cadence; the bottom voice begins with the same three-note head-motive (rhythmicised differently) followed by a motive which engages in voice-exchange with the middle voice. In the first presentation of the module, the first three notes of the rising-fourth motive complete a statement of the chant soggetto (see the relationship recording details of the fuga in this passage). In the second NIm presentation this motive occurs independently, without the preceding chant segment.

<2856> Jon Oddie [CRIM_Model_0022] Benedicta es Soggetto Expand

Soggetto

Voice:
undefined (1)

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

<2857> Jon Oddie [CRIM_Model_0023] Benedicta es Fuga Expand

Fuga

Voices:
Tenor
Altus
Cantus
Altus

Melodic interval of entry: 5+4+5-

Time interval of entry: S3/5/2

Periodic: False

Strict: False

Flexed: True

Sequential: False

Inverted: False

Retrograde: False

Remarks: As in the previous section there are two substantial entrances of a chant-derived soggetto, and two fragmentary entrances of its three-note head-motive (both in the altus). The latter do not participate in any modular repetition (see other relationship for details of the NIm in this section) and are probably opportunistic entrances, perhaps (hypothetically) the last to be "fitted in" to an existing structure in the compositional process?

<2858> Jon Oddie [CRIM_Model_0022] Benedicta es Soggetto Expand

Soggetto

Voice:
undefined (1)

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

<2859> Jon Oddie [CRIM_Model_0023] Benedicta es Non-imitative duo Expand

Non-imitative duo

Voices:
Quinta pars
Tenor
Sexta pars
Altus
Tenor
Bassus
Cantus
Quinta pars
Sexta pars
Cantus
Altus
Bassus

Melodic interval of entry: 1+1+1+

Time interval of entry: S4/4/4

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

Remarks: This is a *3-voice* NIm with *4* different motives. For the purposes of this relationship only the portion of the chant soggetto that participates in the NIm is shown, although in both cases it is part of a longer fuga entrances. Motive 1 (A-G-F) comes from the chant at "-gris medi-"; motive 2 (G-F-E-C-D) is always heard in one of the bass voices, followed by tenorizans or basizans motion; motive 3 (A-B-C-A) is usually heard in an inner voice; motive 4 is a decorated cantizans cadence. We hear two different three-voice combinations of these four motives in alteration: first 1+2+3, then 2+3+4, then repeat. In other words, motives 2+3 are heard each time, in combination either with the soggetto (motive 1) or with the cantizans cadence (motive 4)

<2860> Jon Oddie [CRIM_Model_0022] Benedicta es None -

Observation

<2861> Jon Oddie [CRIM_Model_0023] Benedicta es Fuga, Periodic entry Expand

Fuga, Periodic entry

Voices:
Tenor
Sexta pars
Quinta pars

Melodic interval of entry: 4-7+

Time interval of entry: M1/3

Periodic: False

Strict: False

Flexed: True

Sequential: False

Inverted: False

Retrograde: False

Voices:
Tenor
Sexta pars
Quinta pars

Melodic interval of entry: 4+4+

Time interval of entry: S1/1

Strict: False

Flexed: False

Flexed, tonal: False

Sequential: False

Added: False

Invertible: False

Remarks: Pieton has concealed the underlying periodicity of this fuga: if we judge from the *second* note of the chant soggetto, this is a PEn(sta) with entrances at the semibreve at the upper fourth. However, the variable length of the subject's first note conceals this regularity, to the extent that the tenor entrance on G which begins first is actually the *comes* to the *dux* represented by the sexta pars entrance on D. The third entrance in the quinta pars is fragmentary.

<2862> Jon Oddie [CRIM_Model_0022] Benedicta es None -

Observation

<2863> Jon Oddie [CRIM_Model_0023] Benedicta es Non-imitative duo Expand

Non-imitative duo

Voices:
Sexta pars
Altus
Tenor
Bassus
Quinta pars
Cantus

Melodic interval of entry: 12-15+

Time interval of entry: M1/2

Strict: False

Flexed: True

Flexed, tonal: False

Sequential: False

Invertible: True

Remarks: The first four notes of the chant participate in a small NIm with a countersubject consisting of a falling third + rising fourth. The first presentation is complicated by offsetting the countersubject by one minim. The second exchanges the parts in ic12.

<2864> Jon Oddie [CRIM_Model_0022] Benedicta es None -

Observation

<2865> Jon Oddie [CRIM_Model_0023] Benedicta es Soggetto, Fuga Expand

Soggetto, Fuga

Voice:
Quinta pars

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

Voices:
Sexta pars
Tenor

Melodic interval of entry: 4+

Time interval of entry: S1

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Remarks: The chant motive (a descending fourth) is first quoted in simplified form by the quinta pars; then there is a 2vv. fuga on an ornamented form of the subject in which added notes change its stepwise descent into alternating falling thirds and rising seconds

<2866> Jon Oddie [CRIM_Model_0022] Benedicta es Soggetto Expand

Soggetto

Voice:
undefined (1)

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

<2867> Jon Oddie [CRIM_Model_0023] Benedicta es Soggetto, Fuga, Periodic entry Expand

Soggetto, Fuga, Periodic entry

Voice:
Cantus

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

Voices:
Tenor
Altus
Bassus
Quinta pars
Sexta pars
Altus
Tenor

Melodic interval of entry: 5+5-5+8-5+5-

Time interval of entry: M2/2/2/4/4/2

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: True

Retrograde: False

Voices:
Tenor
Altus
Bassus
Quinta pars

Melodic interval of entry: 5+5-5+

Time interval of entry: M2/2/2

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Added: False

Invertible: True

Remarks: The ornamented chant soggetto in the cantus provides a quasi-cantus-firmus (or a "declamatory singleton" in Schubert's terms?) below which the lower five voices engage in fuga on a four-note motive (G-A-F-G: rising second-falling third-rising second). The entrances are initially periodic every two minims; then there is a group of three entrances which enter every four minims, and finally a closing imitative duo again at two minims. Not explicitly indicated in the data above are a possible entrance of the motive in inversion (sexta pars, bb. 45-46: E-D-F-E) and one in shadowing/fauxbourdon (altus, bb. 45-46: A-B-G-A)

<2868> Jon Oddie [CRIM_Model_0022] Benedicta es None -

Observation

<2869> Jon Oddie [CRIM_Model_0023] Benedicta es Soggetto, Fuga, Periodic entry, Non-imitative duo Expand

Soggetto, Fuga, Periodic entry, Non-imitative duo

Voice:
Cantus

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

Voices:
Altus
Sexta pars
Tenor
Quinta pars
Bassus
Tenor

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

Time interval of entry: M1/1/8/1/1

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Voices:
Altus
Sexta pars
Tenor

Melodic interval of entry: 8-5+

Time interval of entry: M1/1

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Added: False

Invertible: False

Voices:
Altus
Sexta pars
Tenor
Quinta pars
Bassus
Tenor

Melodic interval of entry: 1+

Time interval of entry: S5

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

Remarks: The chant soggetto is in the cantus, beneath which the other voices engage in stretto fuga based on falling fourths and rising thirds; this pattern automatically generates imitations in ic12, permitting entrances at the lower octave and upper fifth. Following the end of the chant soggetto in the cantus, the complete three-voice fuga lattice plus the free continuations that follow each of its entrances is repeated at the same pitch, forming a *3-voice* NIm.

<2870> Jon Oddie [CRIM_Model_0022] Benedicta es Soggetto Expand

Soggetto

Voice:
undefined (1)

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

<2871> Jon Oddie [CRIM_Model_0023] Benedicta es Non-imitative duo Expand

Non-imitative duo

Voices:
Cantus
Altus
Quinta pars
Tenor
Cantus
Altus
Quinta pars
Tenor

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

<2872> Jon Oddie [CRIM_Model_0022] Benedicta es Soggetto Expand

Soggetto

Voice:
undefined (1)

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

<2873> Jon Oddie [CRIM_Model_0023] Benedicta es Fuga, Periodic entry, Non-imitative duo Expand

Fuga, Periodic entry, Non-imitative duo

Voices:
Cantus
Sexta pars
Quinta pars
Bassus
Sexta pars
Quinta pars
Bassus

Melodic interval of entry: 11-7+11-5+7+11-

Time interval of entry: M2/2/2/6/2/2

Periodic: False

Strict: False

Flexed: True

Sequential: False

Inverted: False

Retrograde: False

Voices:
Cantus
Sexta pars
Quinta pars
Bassus

Melodic interval of entry: 11-7+11-

Time interval of entry: M2/2/2

Strict: False

Flexed: True

Flexed, tonal: False

Sequential: False

Added: False

Invertible: False

Voices:
Altus
Bassus
Altus
Bassus

Melodic interval of entry: 1+

Time interval of entry: S5

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

Remarks: The subject is formed into fuga in two groups of periodic entrances separated by a cadence; since the countersubject in the altus is repeated with the second group of three entrances, they form a four-voice repeated NIm. Only two voices of the NIm - the altus and bassus, which have the greatest overlap - have been formally noted in this assertion.

<2874> Jon Oddie [CRIM_Model_0022] Benedicta es Soggetto Expand

Soggetto

Voice:
undefined (1)

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

<2875> Jon Oddie [CRIM_Model_0023] Benedicta es Soggetto, Non-imitative duo, Interval patterns Expand

Soggetto, Non-imitative duo, Interval patterns

Voice:
Cantus

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

Voices:
Sexta pars
Quinta pars
Altus
Bassus
Sexta pars
Tenor

Melodic interval of entry: 4-

Time interval of entry: S5

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

Voices:
Altus
Tenor

Parallel 6: False

Parallel 3 (or 10): False

Chained 3 and 5: False

Chained 8 and 3: False

Chained 6 and 5: False

Remarks: The ornamented chant subject is in the cantus, and the lower voices weave stretto-fuga derived patterns beneath (here, derived mainly from falling thirds and rising seconds). The NIm here is for *3 voices*. At its second presentation the altus moves quasi-imitatively in contrary motion to the top voice of the NIm, forming an interval pattern (8-5-8-5-...)

<2876> Jon Oddie [CRIM_Model_0022] Benedicta es None -

Observation

<2877> Jon Oddie [CRIM_Model_0023] Benedicta es Soggetto Expand

Soggetto

Voice:
Cantus

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

<2878> Jon Oddie [CRIM_Model_0022] Benedicta es Soggetto Expand

Soggetto

Voice:
undefined (1)

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

<2879> Alessandra Ignesti [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Periodic entry Expand

Periodic entry

Voices:
Contratenor
Bassus
Discantus
Tenor

Melodic interval of entry: 8-12+8-

Time interval of entry: B2/2/2

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Added: False

Invertible: True

<2880> Alessandra Ignesti [CRIM_Mass_0014_2] Missa Mente tota: Gloria Contrapuntal duo -

Contrapuntal duo

Voices:
Contratenor
Superius

<2881> Alessandra Ignesti [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Soggetto Expand

Soggetto

Voice:
Discantus

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<2882> Alessandra Ignesti [CRIM_Mass_0014_2] Missa Mente tota: Gloria Soggetto Expand

Soggetto

Voice:
Superius

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<2883> Alessandra Ignesti [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Counter-soggetto Expand

Counter-soggetto

Voice:
Bassus

Rhythmic durations: True

Melodic intervals: True

<2884> Alessandra Ignesti [CRIM_Mass_0014_2] Missa Mente tota: Gloria Soggetto Expand

Soggetto

Voice:
Superius

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<2885> Alessandra Ignesti [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Periodic entry Expand

Periodic entry

Voices:
Contratenor
Bassus
Discantus
Tenor

Melodic interval of entry: 8-12+8-

Time interval of entry: B2/2/2

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Added: False

Invertible: True

<2886> Alessandra Ignesti [CRIM_Mass_0014_2] Missa Mente tota: Gloria Cantus firmus Expand

Cantus firmus

Voice: -

Rhythmic durations: True

Melodic intervals: True

Remarks: This quotation is really short (no citation throughout a complete section of music), but the function looks like that of a cantus firmus.

<2887> Alessandra Ignesti [CRIM_Model_0016] Mente Tota (from Vultuum tuum) None -

Observation

<2888> Alessandra Ignesti [CRIM_Mass_0014_2] Missa Mente tota: Gloria Homorhythm Expand

Homorhythm

Voices:
Superius
Contratenor
Bassus

Simple: False

Staggered: True

Sequential: False

Fauxbourdon: False

<2889> Alessandra Ignesti [CRIM_Model_0016] Mente Tota (from Vultuum tuum) None -

Observation

<2890> Alessandra Ignesti [CRIM_Mass_0014_2] Missa Mente tota: Gloria Contrapuntal duo -

Contrapuntal duo

Voices:
Tenor
Bassus

<2891> Alessandra Ignesti [CRIM_Model_0016] Mente Tota (from Vultuum tuum) None -

Observation

<2892> Alessandra Ignesti [CRIM_Mass_0014_2] Missa Mente tota: Gloria Contrapuntal duo -

Contrapuntal duo

Voices:
Superius
Contratenor

<2893> Alessandra Ignesti [CRIM_Model_0016] Mente Tota (from Vultuum tuum) None -

Observation

<2894> Alessandra Ignesti [CRIM_Mass_0014_2] Missa Mente tota: Gloria Fuga Expand

Fuga

Voices:
Bassus
Tenor

Melodic interval of entry: 5+

Time interval of entry: B1

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Remarks: Stretto fuga

<2895> Alessandra Ignesti [CRIM_Model_0016] Mente Tota (from Vultuum tuum) None -

Observation

<2896> Alessandra Ignesti [CRIM_Mass_0014_2] Missa Mente tota: Gloria Non-imitative duo Expand

Non-imitative duo

Voices:
Superius
Contratenor
Superius
Contratenor

Melodic interval of entry: 1+

Time interval of entry: S32

Strict: False

Flexed: True

Flexed, tonal: False

Sequential: False

Invertible: False

Remarks: This module repeats quite far from the first occurrence and with some changes.

<2897> Alessandra Ignesti [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Fuga Expand

Fuga

Voices:
Bassus
Tenor

Melodic interval of entry: 4+

Time interval of entry: M6

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Remarks: The soggetto appears in the Contratenor at bars 34-35, as part of a longer melody.

<2898> Alessandra Ignesti [CRIM_Mass_0014_2] Missa Mente tota: Gloria Periodic entry Expand

Periodic entry

Voices:
Bassus
Tenor
Bassus
Tenor

Melodic interval of entry: 4+4-4+

Time interval of entry: M6/6/6

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Added: False

Invertible: False

Remarks: Followed by an ID with the same soggetto.

<2899> Alessandra Ignesti [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Fuga Expand

Fuga

Voices:
Bassus
Tenor

Melodic interval of entry: 4+

Time interval of entry: M6

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Remarks: The soggetto appears in the Contratenor at bars 34-35, as part of a longer melody.

<2900> Alessandra Ignesti [CRIM_Mass_0014_2] Missa Mente tota: Gloria Imitative duo Expand

Imitative duo

Voices:
Tenor
Superius
Bassus
Contratenor

Melodic interval of entry: 8+12-8+

Time interval of entry: M4/6/4

Strict: True

Flexed: False

Flexed, tonal: False

Invertible: False

<2901> Alessandra Ignesti [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Cadence Expand

Cadence

Cantizans: Discantus

Tenorizans: Tenor

Type: authentic

Tone: G

Dovetail voice: Bassus