CRIM

Citations: The Renaissance Imitation Mass Project

Observations

ID Observer Piece Observation type Show details
<3402> Scott Troyer [CRIM_Mass_0003_3] Missa O gente brunette: Credo Homorhythm Expand

Homorhythm

Voices:
[Superius]
[Contratenor]
[Tenor]
[Bassus]

Simple: True

Staggered: False

Sequential: False

Fauxbourdon: False

<3403> Scott Troyer [CRIM_Model_0002] O gente brunette Homorhythm Expand

Homorhythm

Voices:
Superius
Contratenor
Tenor
Bassus

Simple: True

Staggered: False

Sequential: False

Fauxbourdon: False

<3404> Scott Troyer [CRIM_Mass_0003_3] Missa O gente brunette: Credo Homorhythm Expand

Homorhythm

Voices:
[Superius]
[Contratenor]
[Tenor]
[Bassus]

Simple: True

Staggered: False

Sequential: False

Fauxbourdon: False

<3405> Jon Oddie [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Fuga, Interval patterns Expand

Fuga, Interval patterns

Voices:
Bassus
Tenor
Bassus
Tenor
Bassus
Tenor

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

Time interval of entry: M4/4/4/8/4

Periodic: False

Strict: False

Flexed: True

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

<3406> Jon Oddie [CRIM_Mass_0016_1] Missa Mente tota: Kyrie Fuga, Imitative duo Expand

Fuga, Imitative duo

Voices:
Tenor
Bassus
[Discantus]
[ContratenorPrimus]

Melodic interval of entry: 5-12+5-

Time interval of entry: B2/10/2

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Voices:
Tenor
Bassus
[Discantus]
[ContratenorPrimus]

Melodic interval of entry: 5-12+5-

Time interval of entry: B2/10/2

Strict: True

Flexed: False

Flexed, tonal: False

Invertible: False

<3407> Scott Troyer [CRIM_Model_0002] O gente brunette Homorhythm Expand

Homorhythm

Voices:
Superius
Contratenor
Tenor
Bassus

Simple: True

Staggered: False

Sequential: False

Fauxbourdon: False

<3408> Scott Troyer [CRIM_Mass_0003_3] Missa O gente brunette: Credo Homorhythm Expand

Homorhythm

Voices:
Superius
Contratenor
Tenor
Bassus

Simple: True

Staggered: False

Sequential: False

Fauxbourdon: False

<3409> Ian Lorenz [CRIM_Model_0015] Quo abiit dilectus tuus Contrapuntal duo -

Contrapuntal duo

Voices:
Contratenor
Superior

Remarks: Module: 67665346843

<3410> Ian Lorenz [CRIM_Mass_0013_1] Missa Quo abiit dilectus tuus: Kyrie None -

Observation

<3411> Ian Lorenz [CRIM_Model_0015] Quo abiit dilectus tuus Contrapuntal duo, Cadence Expand

Contrapuntal duo, Cadence

Voices:
Bassus
Tenor

Cantizans: Tenor

Tenorizans: Bassus

Type: phrygian

Tone: D

Remarks: Module: 56663365336568

<3412> Ian Lorenz [CRIM_Mass_0013_1] Missa Quo abiit dilectus tuus: Kyrie None -

Observation

<3413> Ian Lorenz [CRIM_Model_0015] Quo abiit dilectus tuus Contrapuntal duo, Interval patterns Expand

Contrapuntal duo, Interval patterns

Voices:
Contratenor
Superior

Voices:
Contratenor
Superior

Parallel 6: False

Parallel 3 (or 10): True

Chained 3 and 5: False

Chained 8 and 3: False

Chained 6 and 5: False

Remarks: Module: 15685633333243

<3414> Ian Lorenz [CRIM_Mass_0013_1] Missa Quo abiit dilectus tuus: Kyrie None -

Observation

<3415> Ian Lorenz [CRIM_Model_0015] Quo abiit dilectus tuus Fuga Expand

Fuga

Voices:
Tenor
Bassus
Contratenor
Superior
Tenor

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

Time interval of entry: M4/6/4/6

Periodic: False

Strict: False

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<3416> Ian Lorenz [CRIM_Mass_0013_1] Missa Quo abiit dilectus tuus: Kyrie None -

Observation

<3417> Ian Lorenz [CRIM_Model_0015] Quo abiit dilectus tuus Cadence Expand

Cadence

Cantizans: Contratenor

Tenorizans: Superior

Type: authentic

Tone: G

Remarks: Evaded

<3418> Ian Lorenz [CRIM_Mass_0013_1] Missa Quo abiit dilectus tuus: Kyrie None -

Observation

<3419> Ian Lorenz [CRIM_Model_0015] Quo abiit dilectus tuus Imitative duo Expand

Imitative duo

Voices:
Bassus
Superior
Contratenor
Superior

Melodic interval of entry: 4+4+

Time interval of entry: M2/8/2

Strict: False

Flexed: False

Flexed, tonal: False

Invertible: False

Remarks: First Module: 56654356 Second Module: 56654356

<3420> Ian Lorenz [CRIM_Mass_0013_1] Missa Quo abiit dilectus tuus: Kyrie None -

Observation

<3421> Ian Lorenz [CRIM_Model_0015] Quo abiit dilectus tuus Cadence Expand

Cadence

Cantizans: Tenor

Tenorizans: Superior

Type: authentic

Tone: D

<3422> Ian Lorenz [CRIM_Mass_0013_1] Missa Quo abiit dilectus tuus: Kyrie None -

Observation

<3423> Ian Lorenz [CRIM_Model_0015] Quo abiit dilectus tuus Imitative duo Expand

Imitative duo

Voices:
Bassus
Superior
Contratenor
Superior
Bassus
Tenor

Melodic interval of entry: 4+4+4+

Time interval of entry: M2/8/2/14/2

Strict: False

Flexed: False

Flexed, tonal: False

Invertible: False

Remarks: First Module: 56654356 Second Module: 56654356 Third Module: 56654356

<3424> Ian Lorenz [CRIM_Mass_0013_1] Missa Quo abiit dilectus tuus: Kyrie None -

Observation

<3425> Ian Lorenz [CRIM_Model_0015] Quo abiit dilectus tuus Fuga Expand

Fuga

Voices:
Superior
Contratenor

Melodic interval of entry: 8-

Time interval of entry: M4

Periodic: False

Strict: False

Flexed: True

Sequential: False

Inverted: False

Retrograde: False

<3426> Ian Lorenz [CRIM_Mass_0013_1] Missa Quo abiit dilectus tuus: Kyrie None -

Observation

<3427> Ian Lorenz [CRIM_Model_0015] Quo abiit dilectus tuus Cadence Expand

Cadence

Cantizans: Superior

Tenorizans: Tenor

Type: authentic

Tone: C

<3428> Ian Lorenz [CRIM_Mass_0013_1] Missa Quo abiit dilectus tuus: Kyrie None -

Observation

<3429> Ian Lorenz [CRIM_Model_0015] Quo abiit dilectus tuus Fuga Expand

Fuga

Voices:
Bassus
Tenor
Contratenor
Superior

Melodic interval of entry: 4+4+5+

Time interval of entry: M2/1/3

Periodic: False

Strict: False

Flexed: True

Sequential: False

Inverted: False

Retrograde: False

Remarks: Contratenor is flexed

<3430> Ian Lorenz [CRIM_Mass_0013_1] Missa Quo abiit dilectus tuus: Kyrie None -

Observation

<3431> Ian Lorenz [CRIM_Model_0015] Quo abiit dilectus tuus Cadence Expand

Cadence

Cantizans: Superior

Tenorizans: Tenor

Type: authentic

Tone: G

<3432> Ian Lorenz [CRIM_Mass_0013_1] Missa Quo abiit dilectus tuus: Kyrie None -

Observation

<3433> Ian Lorenz [CRIM_Model_0015] Quo abiit dilectus tuus Imitative duo Expand

Imitative duo

Voices:
Superior
Contratenor
Tenor
Bassus

Melodic interval of entry: 5-5-

Time interval of entry: M8/12/8

Strict: False

Flexed: False

Flexed, tonal: False

Invertible: False

Remarks: First Module: 6,5,5,10,8,6,5,3,5,3,5,6,5,4 Second Module: 6,5,5,10,8,6,5,3,5,3,5,6,5,4

<3434> Ian Lorenz [CRIM_Mass_0013_1] Missa Quo abiit dilectus tuus: Kyrie Fuga Expand

Fuga

Voices:
Tenor
Bassus
Contratenor

Melodic interval of entry: 5-8+

Time interval of entry: M6/8

Periodic: False

Strict: False

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Remarks: Module: 6,5,10,8,6,5,3,5

<3435> Ian Lorenz [CRIM_Model_0015] Quo abiit dilectus tuus None -

Observation

<3436> Ian Lorenz [CRIM_Mass_0013_1] Missa Quo abiit dilectus tuus: Kyrie Cadence Expand

Cadence

Cantizans: Bassus

Tenorizans: Contratenor

Type: phrygian

Tone: G

<3437> Ian Lorenz [CRIM_Model_0015] Quo abiit dilectus tuus Imitative duo Expand

Imitative duo

Voices:
Superior
Contratenor
Tenor
Bassus

Melodic interval of entry: 5-5-

Time interval of entry: M8/12/8

Strict: False

Flexed: False

Flexed, tonal: False

Invertible: False

Remarks: First Module: 6,5,5,10,8,6,5,3,5,3,5,6,5,4 Second Module: 6,5,5,10,8,6,5,3,5,3,5,6,5,4

<3438> Ian Lorenz [CRIM_Mass_0013_1] Missa Quo abiit dilectus tuus: Kyrie Imitative duo Expand

Imitative duo

Voices:
Superius
Contratenor
Tenor
Bassus

Melodic interval of entry: 5-5-

Time interval of entry: M4/12/4

Strict: False

Flexed: True

Flexed, tonal: False

Invertible: False

Remarks: Initial Superior entrance is flexed to be a minim longer First Module: 5,6,8,6,8 Second Module: 5,6,8,6 (5)

<3439> Ian Lorenz [CRIM_Model_0015] Quo abiit dilectus tuus None -

Observation

<3440> Ian Lorenz [CRIM_Mass_0013_1] Missa Quo abiit dilectus tuus: Kyrie Cadence Expand

Cadence

Cantizans: Superius

Tenorizans: Tenor

Type: phrygian

Tone: D

<3441> Jon Oddie [CRIM_Model_0023] Benedicta es Non-imitative duo, Form and process Expand

Non-imitative duo, Form and process

Voices:
Cantus
Altus
Tenor
Bassus
Tenor
Bassus

Melodic interval of entry: 8-1+

Time interval of entry: M6/12

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

Internal repetition: True

Range: 76-79,79-82

Comment: Almost but not quite literal repetition of the whole contrapuntal complex (the entrance of the soggetto in the altus in b. 79--81 is altered)

Remarks: The chant soggetto forms the lower voice of a non-imitative duo with three presentations (a fourth partial presentation in bb. 79-81, not entered in the data above, is disguised by shifting the chant soggetto one semibreve earlier and splicing in two minim notes on the downbeat of b. 80). There are additional fuga entrances of the countersubject and an additional repeated countersubject in the sexta pars, possibly derived from the same descending-fourth motive as the main subject.

<3442> Jon Oddie [CRIM_Model_0022] Benedicta es Soggetto Expand

Soggetto

Voice:
undefined (1)

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

<3443> Jon Oddie [CRIM_Model_0023] Benedicta es Non-imitative duo Expand

Non-imitative duo

Voices:
Cantus
Altus
Quintus pars
Bassus
Sexta pars
Bassus

Melodic interval of entry: 4-8-

Time interval of entry: S1/4

Strict: False

Flexed: True

Flexed, tonal: False

Sequential: False

Invertible: False

Remarks: This seems like it will be a NIm, like the previous point of imitation, with which it shares a chant soggetto. But the two subjects only line up at their first appearance (the countersubject beginning a third below the subject). Subsequent entrances get "out of phase": in the second entrance of the two soggetti, the countersubject begins 2 minims later than the subject, an 11th below; in the third entrance of the two, the countersubject begins four minims later and a 7th below, so there are three different S/CS cells. There is also an added entry of the chant motive in the cantus of b. 84-5.

<3444> Jon Oddie [CRIM_Model_0022] Benedicta es Soggetto Expand

Soggetto

Voice:
undefined (1)

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

<3445> Jon Oddie [CRIM_Model_0023] Benedicta es Non-imitative duo Expand

Non-imitative duo

Voices:
Altus
Sexta pars
Cantus
Bassus

Melodic interval of entry: 1+

Time interval of entry: S6

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

Remarks: Time interval of NIms regularised in data entry (first entrance begins with a minim, second with a semibreve).

<3446> Jon Oddie [CRIM_Model_0022] Benedicta es Soggetto Expand

Soggetto

Voice:
undefined (1)

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

<3447> Jon Oddie [CRIM_Model_0023] Benedicta es Soggetto Expand

Soggetto

Voice:
Cantus

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

Remarks: Pieton seems to have treated the preceding chant phrase and this one as having similar contours, although they differ in the chant: the penultimate chant segment descends to E where the final segment does not, but Pieton includes the descent to E in the soggetto/cantus firmus formed from this final chant segment as well. The rhythmic durations given to the chant melody in this final section are augmented roughly twofold compared to the previous soggetto.

<3448> Jon Oddie [CRIM_Model_0022] Benedicta es Soggetto Expand

Soggetto

Voice:
undefined (1)

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

<3449> Jon Oddie [CRIM_Model_0021] Benedicta es Fuga, Non-imitative duo, Form and process Expand

Fuga, Non-imitative duo, Form and process

Voices:
Altus
Superius
Tenor

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

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

Periodic: False

Strict: False

Flexed: True

Sequential: False

Inverted: False

Retrograde: False

Voices:
Superius
Bassus
Superius
Bassus

Melodic interval of entry: 1+

Time interval of entry: S5

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

Internal repetition: True

Range: 62-64,64-67

<3450> Jon Oddie [CRIM_Model_0022] Benedicta es None -

Observation

<3451> Jon Oddie [CRIM_Model_0021] Benedicta es Non-imitative duo Expand

Non-imitative duo

Voices:
Superius
Altus
Tenor
Bassus

Melodic interval of entry: 5-

Time interval of entry: S1

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

<3452> Jon Oddie [CRIM_Model_0022] Benedicta es Soggetto Expand

Soggetto

Voice:
undefined (1)

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

<3453> Jon Oddie [CRIM_Model_0021] Benedicta es Imitative duo Expand

Imitative duo

Voices:
Superius
Tenor
Superius
Tenor

Melodic interval of entry: 5-5+5-

Time interval of entry: S1/8/1

Strict: True

Flexed: False

Flexed, tonal: False

Invertible: False

Remarks: Repeating the chant soggetto in canon produces two identical presentations of the same imitative duo in succession (but with different counterpoints in the free voices).

<3454> Jon Oddie [CRIM_Model_0022] Benedicta es Soggetto Expand

Soggetto

Voice:
undefined (1)

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

<3455> Raphaëlle Rouzic [CRIM_Model_0019] Veni sponsa Christi Contrapuntal duo, Interval patterns Expand

Contrapuntal duo, Interval patterns

Voices:
Tenor
Bassus

Voices:
Bassus
Tenor

Parallel 6: False

Parallel 3 (or 10): True

Chained 3 and 5: False

Chained 8 and 3: False

Chained 6 and 5: False

<3456> Raphaëlle Rouzic [CRIM_Mass_0019_3] Missa Veni sponsa Christi: Credo Homorhythm, Interval patterns Expand

Homorhythm, Interval patterns

Voices:
Cantus
Altus
Bassus
Tenor

Simple: False

Staggered: True

Sequential: False

Fauxbourdon: False

Voices:
Cantus
Bassus

Parallel 6: False

Parallel 3 (or 10): True

Chained 3 and 5: False

Chained 8 and 3: False

Chained 6 and 5: False

Remarks: Staggered : >T

<3457> Raphaëlle Rouzic [CRIM_Model_0019] Veni sponsa Christi None -

Observation

<3458> Raphaëlle Rouzic [CRIM_Mass_0019_3] Missa Veni sponsa Christi: Credo Fuga Expand

Fuga

Voices:
Tenor
Cantus
Bassus
Altus

Melodic interval of entry: 8+5-8+

Time interval of entry: M1/2/3

Periodic: False

Strict: False

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Remarks: Like sequential entries

<3459> Raphaëlle Rouzic [CRIM_Model_0019] Veni sponsa Christi Soggetto Expand

Soggetto

Voice:
Tenor

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

Remarks: Quatre SOGGETTI différents : - mesures 6 à 8 - mesures 24 à 26 - mesures 38 à 40 - mesures 64 à 67

<3460> Raphaëlle Rouzic [CRIM_Mass_0019_3] Missa Veni sponsa Christi: Credo Cantus firmus, Homorhythm Expand

Cantus firmus, Homorhythm

Voice:
Tenor

Rhythmic durations: False

Melodic intervals: False

Voices:
Cantus
Altus
Tenor
Bassus

Simple: True

Staggered: False

Sequential: False

Fauxbourdon: False

Remarks: Palestrina enchaine les différents motifs, il fait comme un résumé du modèle en uniformisant la plupart des valeurs rythmiques en semi-brèves.

<3461> Raphaëlle Rouzic [CRIM_Model_0019] Veni sponsa Christi Soggetto Expand

Soggetto

Voice:
Altus

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<3462> Raphaëlle Rouzic [CRIM_Mass_0019_3] Missa Veni sponsa Christi: Credo Fuga Expand

Fuga

Voices:
Cantus
Altus

Melodic interval of entry: 4-

Time interval of entry: S1

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<3463> Scott Troyer [CRIM_Model_0002] O gente brunette Homorhythm Expand

Homorhythm

Voices:
Superius
Contratenor
Tenor
Bassus

Simple: True

Staggered: False

Sequential: False

Fauxbourdon: False

<3464> Scott Troyer [CRIM_Mass_0003_3] Missa O gente brunette: Credo Homorhythm Expand

Homorhythm

Voices:
[Superius]
[Contratenor]
[Contratenor]
[Bassus]

Simple: True

Staggered: False

Sequential: False

Fauxbourdon: False

<3465> Scott Troyer [CRIM_Model_0002] O gente brunette None -

Observation

<3466> Scott Troyer [CRIM_Mass_0003_3] Missa O gente brunette: Credo Fuga Expand

Fuga

Voices:
[Tenor]
[Bassus]

Melodic interval of entry: 9-

Time interval of entry: S2

Periodic: False

Strict: False

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<3467> Scott Troyer [CRIM_Model_0002] O gente brunette None -

Observation

<3468> Scott Troyer [CRIM_Mass_0003_3] Missa O gente brunette: Credo Fuga Expand

Fuga

Voices:
[Superius]
[Contratenor]

Melodic interval of entry: 5-

Time interval of entry: S1

Periodic: False

Strict: False

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<3469> Scott Troyer [CRIM_Model_0002] O gente brunette None -

Observation

<3470> Scott Troyer [CRIM_Mass_0003_3] Missa O gente brunette: Credo Cadence Expand

Cadence

Cantizans: [Superius]

Tenorizans: [Contratenor]

Type: authentic

Tone: C

Dovetail voice: [Tenor]

Dovetail interval: 4-

Remarks: Inverted, incomplete, "dovetail" begins one mimim before cadence

<3471> Scott Troyer [CRIM_Model_0002] O gente brunette None -

Observation

<3472> Scott Troyer [CRIM_Mass_0003_3] Missa O gente brunette: Credo Homorhythm Expand

Homorhythm

Voices:
[Superius]
[Contratenor]
[Tenor]
[Bassus]

Simple: False

Staggered: True

Sequential: False

Fauxbourdon: False

Remarks: superius, contratenor, and bassus can all be regularized, the tenor voice is the staggered voice.

<3473> Scott Troyer [CRIM_Model_0002] O gente brunette None -

Observation

<3474> Scott Troyer [CRIM_Mass_0003_3] Missa O gente brunette: Credo Contrapuntal duo, Fuga Expand

Contrapuntal duo, Fuga

Voices:
[Superius]
[Contratenor]

Voices:
[Tenor]
[Bassus]
[Superius]

Melodic interval of entry: 5-15+

Time interval of entry: M2/1

Periodic: False

Strict: False

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<3475> Scott Troyer [CRIM_Model_0002] O gente brunette None -

Observation

<3476> Scott Troyer [CRIM_Mass_0003_3] Missa O gente brunette: Credo Imitative duo Expand

Imitative duo

Voices:
[Bassus]
[Tenor]
[Contratenor]
[Superius]

Melodic interval of entry: 5+4+5+

Time interval of entry: S1/3/2

Strict: False

Flexed: True

Flexed, tonal: False

Invertible: False

<3477> Scott Troyer [CRIM_Model_0002] O gente brunette Soggetto Expand

Soggetto

Voice:
Superius

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<3478> Scott Troyer [CRIM_Mass_0003_3] Missa O gente brunette: Credo Fuga Expand

Fuga

Voices:
[Tenor]
[Bassus]

Melodic interval of entry: 8-

Time interval of entry: B1

Periodic: False

Strict: False

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<3479> Raphaëlle Rouzic [CRIM_Model_0019] Veni sponsa Christi None -

Observation

<3480> Raphaëlle Rouzic [CRIM_Mass_0019_3] Missa Veni sponsa Christi: Credo Contrapuntal duo, Interval patterns Expand

Contrapuntal duo, Interval patterns

Voices:
Cantus
Altus

Voices:
Cantus
Altus

Parallel 6: False

Parallel 3 (or 10): True

Chained 3 and 5: False

Chained 8 and 3: False

Chained 6 and 5: False

Remarks: CD S>A S1 @5-

<3481> Raphaëlle Rouzic [CRIM_Model_0019] Veni sponsa Christi None -

Observation

<3482> Raphaëlle Rouzic [CRIM_Mass_0019_3] Missa Veni sponsa Christi: Credo Fuga Expand

Fuga

Voices:
Tenor
Bassus

Melodic interval of entry: 5-

Time interval of entry: S2

Periodic: False

Strict: False

Flexed: True

Sequential: False

Inverted: False

Retrograde: False

Remarks: Flexed : Le motif de tête est identique mais le contrepoint qui le suit est différent. Cette FUGA pourrait être le second duo d'un ID. (premier duo: mesures 69 à 72: S>A) Mais le fait que ce second duo ne reprenne pas la tête de motif du CD précédent, l'ID ne peut pas être justifié. L'absence de cette tête de motif donne une impression d'échos au moment du second duo.

<3483> Scott Troyer [CRIM_Model_0002] O gente brunette None -

Observation

<3484> Scott Troyer [CRIM_Mass_0003_3] Missa O gente brunette: Credo Imitative duo Expand

Imitative duo

Voices:
[Superius]
[Contratenor]
[Tenor]
[Tenor]

Melodic interval of entry: 5-4-4+

Time interval of entry: S2/1/2

Strict: False

Flexed: True

Flexed, tonal: False

Invertible: False

<3485> Scott Troyer [CRIM_Model_0002] O gente brunette None -

Observation

<3486> Scott Troyer [CRIM_Mass_0003_3] Missa O gente brunette: Credo Contrapuntal duo -

Contrapuntal duo

Voices:
[Superius]
[Tenor]

<3487> Raphaëlle Rouzic [CRIM_Model_0019] Veni sponsa Christi None -

Observation

<3488> Raphaëlle Rouzic [CRIM_Mass_0019_3] Missa Veni sponsa Christi: Credo Periodic entry Expand

Periodic entry

Voices:
Cantus
Altus
Tenor

Melodic interval of entry: 4-5-

Time interval of entry: S1/1

Strict: False

Flexed: True

Flexed, tonal: False

Sequential: False

Added: False

Invertible: False

Remarks: Flexed : Certaines valeurs rythmiques sont modifiées + la voix de Tenor. Mais l'intervalle de 7e descendante est respecté.

<3489> Scott Troyer [CRIM_Model_0002] O gente brunette None -

Observation

<3490> Scott Troyer [CRIM_Mass_0003_3] Missa O gente brunette: Credo Contrapuntal duo -

Contrapuntal duo

Voices:
[Superius]
[Tenor]

<3491> Scott Troyer [CRIM_Model_0002] O gente brunette None -

Observation

<3492> Scott Troyer [CRIM_Mass_0003_3] Missa O gente brunette: Credo Contrapuntal duo -

Contrapuntal duo

Voices:
[Contratenor]
[Bassus]

<3493> Scott Troyer [CRIM_Model_0002] O gente brunette None -

Observation

<3494> Scott Troyer [CRIM_Mass_0003_3] Missa O gente brunette: Credo Imitative duo Expand

Imitative duo

Voices:
[Superius]
[Contratenor]
[Tenor]
[Bassus]

Melodic interval of entry: 5-4-5-

Time interval of entry: S1/2/1

Strict: False

Flexed: False

Flexed, tonal: True

Invertible: False

<3495> Scott Troyer [CRIM_Model_0002] O gente brunette None -

Observation

<3496> Scott Troyer [CRIM_Mass_0003_3] Missa O gente brunette: Credo Cadence Expand

Cadence

Cantizans: [Superius]

Tenorizans: [Tenor]

Type: authentic

Tone: F

<3497> Scott Troyer [CRIM_Model_0002] O gente brunette None -

Observation

<3498> Scott Troyer [CRIM_Mass_0003_3] Missa O gente brunette: Credo None -

Observation

<3499> Scott Troyer [CRIM_Model_0002] O gente brunette None -

Observation

<3500> Scott Troyer [CRIM_Mass_0003_1] Missa O gente brunette: Kyrie None -

Observation

<3501> Scott Troyer [CRIM_Model_0002] O gente brunette None -

Observation