CRIM

Citations: The Renaissance Imitation Mass Project

Observations

ID Observer Piece Observation type Show details
<5001> Peter Schubert [CRIM_Model_0019] Veni sponsa Christi Soggetto Expand

Soggetto

Voice:
Tenor

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

Remarks: full texture continues with next soggetto in order of motet

<5002> Peter Schubert [CRIM_Mass_0019_3] Missa Veni sponsa Christi: Credo Soggetto Expand

Soggetto

Voice:
Tenor

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<5003> Peter Schubert [CRIM_Model_0019] Veni sponsa Christi Soggetto Expand

Soggetto

Voice:
Tenor

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<5004> Peter Schubert [CRIM_Mass_0019_3] Missa Veni sponsa Christi: Credo Soggetto Expand

Soggetto

Voice:
Tenor

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<5005> Peter Schubert [CRIM_Model_0019] Veni sponsa Christi Soggetto Expand

Soggetto

Voice:
Tenor

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<5006> Peter Schubert [CRIM_Mass_0019_3] Missa Veni sponsa Christi: Credo Soggetto Expand

Soggetto

Voice:
Tenor

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<5007> Peter Schubert [CRIM_Model_0019] Veni sponsa Christi Soggetto Expand

Soggetto

Voice:
Bassus

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<5008> Peter Schubert [CRIM_Mass_0019_3] Missa Veni sponsa Christi: Credo Soggetto Expand

Soggetto

Voice:
Bassus

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<5009> Peter Schubert [CRIM_Model_0019] Veni sponsa Christi Soggetto Expand

Soggetto

Voice:
Bassus

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<5010> Peter Schubert [CRIM_Mass_0019_3] Missa Veni sponsa Christi: Credo Soggetto Expand

Soggetto

Voice:
Bassus

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<5011> Peter Schubert [CRIM_Model_0019] Veni sponsa Christi Soggetto Expand

Soggetto

Voice:
Bassus

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<5012> Peter Schubert [CRIM_Mass_0019_3] Missa Veni sponsa Christi: Credo Soggetto Expand

Soggetto

Voice:
Bassus

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<5013> Jon Oddie [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Non-imitative duo Expand

Non-imitative duo

Voices:
Bassus
Contratenor
Tenor
Discantus

Melodic interval of entry: 4+

Time interval of entry: S3

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

Remarks: In Josquin, the cantizans cadence in the upper voice of the second NIm presentation is embedded in a longer repeated subject; only the portion which has an analogue in Willaert's Kyrie has been selected here

<5014> Jon Oddie [CRIM_Mass_0016_1] Missa Mente tota: Kyrie Non-imitative duo Expand

Non-imitative duo

Voices:
[Discantus]
Tenor
[ContratenorPrimus]
Bassus

Melodic interval of entry: 5-

Time interval of entry: B2

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

<5015> Jon Oddie [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

<5016> Jon Oddie [CRIM_Mass_0016_2] Missa Mente tota: Gloria Imitative duo Expand

Imitative duo

Voices:
Bassus
Tenor
[ContratenorPrimus]
[Discantus]

Melodic interval of entry: 5+4+5+

Time interval of entry: B2/11/2

Strict: True

Flexed: False

Flexed, tonal: False

Invertible: False

Remarks: These IDs arise as a consequence of the canonic structure (each voice of the canon begins with the imitative subject which Josquin had treated in a PEn).

<5017> Jon Oddie [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Fuga Expand

Fuga

Voices:
Discantus
Tenor

Melodic interval of entry: 8-

Time interval of entry: S4

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Remarks: These entrances are part of a NIm in Josquin (other voice not shown since it is not quoted)

<5018> Jon Oddie [CRIM_Mass_0016_2] Missa Mente tota: Gloria Fuga Expand

Fuga

Voices:
ContratenorSecundus
Vagans

Melodic interval of entry: 1+

Time interval of entry: S1

Periodic: False

Strict: False

Flexed: True

Sequential: False

Inverted: False

Retrograde: False

<5019> Jon Oddie [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Soggetto Expand

Soggetto

Voice:
Contratenor

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<5020> Jon Oddie [CRIM_Mass_0016_2] Missa Mente tota: Gloria Imitative duo, Non-imitative duo Expand

Imitative duo, Non-imitative duo

Voices:
[Discantus]
[ContratenorPrimus]
Tenor
Bassus

Melodic interval of entry: 5-4-5-

Time interval of entry: B2/6/2

Strict: True

Flexed: False

Flexed, tonal: False

Invertible: False

Voices:
[Discantus]
ContratenorSecundus
[ContratenorPrimus]
Vagans
Tenor
[ContratenorPrimus]
Bassus
Vagans

Melodic interval of entry: 5-4-5-

Time interval of entry: B2/6/2

Strict: False

Flexed: True

Flexed, tonal: False

Sequential: False

Invertible: False

Remarks: The NIm formed by the borrowed subject with a new CS is presented twice in complete form, and a final time in fragmentary form (retaining only the last 3 notes of the CS). The third "presentation" is barely there at all: it shares only two notes of the CS with the others. It is included in this analysis only because of the interesting cadential contrast: the other 3 presentations imply but evade a cadence, whereas in this one the cantizans cadence figure is completed.

<5021> Jon Oddie [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Fuga Expand

Fuga

Voices:
Discantus
Tenor

Melodic interval of entry: 5-

Time interval of entry: B4

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Remarks: These entrances form NIMs in Josquin, whose other voices are not shown since they are not borrowed

<5022> Jon Oddie [CRIM_Mass_0016_2] Missa Mente tota: Gloria Imitative duo Expand

Imitative duo

Voices:
[Discantus]
[ContratenorPrimus]
Tenor
Bassus

Melodic interval of entry: 5-4-5-

Time interval of entry: B2/6/2

Strict: True

Flexed: False

Flexed, tonal: False

Invertible: False

<5023> Jon Oddie [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Fuga, Periodic entry, Interval patterns Expand

Fuga, Periodic entry, Interval patterns

Voices:
Bassus
Tenor
Bassus
Tenor
Bassus
Tenor

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

Time interval of entry: S2/2/2/4/2

Periodic: False

Strict: False

Flexed: True

Sequential: False

Inverted: False

Retrograde: False

Voices:
Bassus
Tenor
Bassus
Tenor

Melodic interval of entry: 5+6-5+

Time interval of entry: S2/2

Strict: False

Flexed: True

Flexed, tonal: False

Sequential: False

Added: False

Invertible: True

Voices:
Bassus
Discantus

Parallel 6: False

Parallel 3 (or 10): True

Chained 3 and 5: False

Chained 8 and 3: False

Chained 6 and 5: False

<5024> Jon Oddie [CRIM_Mass_0016_2] Missa Mente tota: Gloria Fuga, Periodic entry Expand

Fuga, Periodic entry

Voices:
[Discantus]
ContratenorSecundus
[ContratenorPrimus]
Tenor
Bassus

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

Time interval of entry: B1/1/7/2

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Voices:
[Discantus]
ContratenorSecundus
[ContratenorPrimus]

Melodic interval of entry: 5-1+4-

Time interval of entry: B1/1

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Added: False

Invertible: True

Remarks: All these imitative entrances are in the canonic voices except for the second, which is added in a free voice and which turns the first two canonic entrances into a small PEn. Willaert has shortened its first note from a semibreve to a minim, not for contrapuntal reasons but probably to disguise the periodicity.

<5025> 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: S2/2/2/4/2

Periodic: False

Strict: False

Flexed: True

Sequential: False

Inverted: False

Retrograde: False

Voices:
Bassus
Discantus

Parallel 6: False

Parallel 3 (or 10): True

Chained 3 and 5: False

Chained 8 and 3: False

Chained 6 and 5: False

<5026> Jon Oddie [CRIM_Mass_0016_2] Missa Mente tota: Gloria Imitative duo Expand

Imitative duo

Voices:
[Discantus]
[ContratenorPrimus]
Tenor
Bassus

Melodic interval of entry: 5-4-5-

Time interval of entry: B2/7/2

Strict: True

Flexed: False

Flexed, tonal: False

Invertible: False

<5027> Jon Oddie [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Periodic entry Expand

Periodic entry

Voices:
Contratenor
Discantus
Bassus
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

<5028> Jon Oddie [CRIM_Mass_0016_3] Missa Mente tota: Credo Imitative duo Expand

Imitative duo

Voices:
[ContratenorPrimus]
[Discantus]
Bassus
Tenor

Melodic interval of entry: 5+12-5+

Time interval of entry: B2/11/2

Strict: True

Flexed: False

Flexed, tonal: False

Invertible: False

<5029> Jon Oddie [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Fuga Expand

Fuga

Voices:
Discantus
Tenor

Melodic interval of entry: 8-

Time interval of entry: S4

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Remarks: These entrances are part of NIms in Josquin (not shown since the other voice is not related to Willaert)

<5030> Jon Oddie [CRIM_Mass_0016_3] Missa Mente tota: Credo Fuga Expand

Fuga

Voices:
ContratenorSecundus
Vagans

Melodic interval of entry: 1+

Time interval of entry: S1

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<5031> Jon Oddie [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Periodic entry Expand

Periodic entry

Voices:
Contratenor
Discantus
Bassus
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: False

<5032> Jon Oddie [CRIM_Mass_0016_3] Missa Mente tota: Credo Imitative duo Expand

Imitative duo

Voices:
[ContratenorPrimus]
[Discantus]
Bassus
Tenor

Melodic interval of entry: 5+12-5+

Time interval of entry: B2/8/2

Strict: True

Flexed: False

Flexed, tonal: False

Invertible: False

<5033> Jon Oddie [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Non-imitative duo Expand

Non-imitative duo

Voices:
Discantus
Tenor
Contratenor
Bassus

Melodic interval of entry: 5-

Time interval of entry: S8

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

<5034> Jon Oddie [CRIM_Mass_0016_3] Missa Mente tota: Credo Imitative duo, Non-imitative duo Expand

Imitative duo, Non-imitative duo

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

Voices:
Tenor
ContratenorSecundus
Bassus
Vagans
[Discantus]
Tenor
[ContratenorPrimus]
Bassus

Melodic interval of entry: 5-12+5-

Time interval of entry: B2/10/2

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

Remarks: The first two presentations of the borrowed NIm are formed by one of its two subjects in the canonic voices, with the other subject introduced in the free voices. The latter two presentations occur where the end of one canonic duo in the tenor and bassus overlaps with the start of the next canonic duo in the discantus and contratenor: here, Willaert has ended the canonic subject with one of the NIm subjects, so that the overlap of the two canonic duos produces two more NIm presentations. (This is a technique Willaert uses elsewhere in the mass).

<5035> Jon Oddie [CRIM_Mass_0016_3] Missa Mente tota: Credo Fuga Expand

Fuga

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

Remarks: These head-motives are followed by longer continuations which, in canon, form an extended ID; they are analysed simply as fuga here since there is no substantial overlap between each entrance of the common head motive.

<5036> Jon Oddie [CRIM_Mass_0016_2] Missa Mente tota: Gloria Fuga Expand

Fuga

Voices:
[Discantus]
[ContratenorPrimus]
Tenor
Bassus
[Discantus]
[ContratenorPrimus]
Tenor
Bassus

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

Time interval of entry: B2/6/2/8/2/6/2

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Remarks: Same remark applies as in the Gloria: these head-motives initiate a large-scale canonic ID, but they are analysed as fuga here since there is no substantial overlap between the common head-motives

<5037> Jon Oddie [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: False

<5038> Jon Oddie [CRIM_Mass_0016_4] Missa Mente tota: Sanctus Imitative duo Expand

Imitative duo

Voices:
Bassus
Tenor
[ContratenorPrimus]
[Discantus]

Melodic interval of entry: 5+4+5+

Time interval of entry: B2/6/2

Strict: True

Flexed: False

Flexed, tonal: False

Invertible: False

<5039> Jon Oddie [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Fuga Expand

Fuga

Voices:
Discantus
Tenor

Melodic interval of entry: 8-

Time interval of entry: B2

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Remarks: The first pair of entrances form a NIm, whose other subject is not borrowed. Time interval of imitation changes to B3 in the second pair of entrances.

<5040> Jon Oddie [CRIM_Mass_0016_4] Missa Mente tota: Sanctus Fuga Expand

Fuga

Voices:
Tenor
Bassus

Melodic interval of entry: 5-

Time interval of entry: B2

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<5041> Jon Oddie [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Soggetto, Homorhythm, Interval patterns Expand

Soggetto, Homorhythm, Interval patterns

Voices:
Discantus
Discantus
Tenor
Discantus

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: True

Voices:
Discantus
Contratenor
Tenor
Bassus

Simple: True

Staggered: False

Sequential: False

Fauxbourdon: 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

<5042> Jon Oddie [CRIM_Mass_0016_4] Missa Mente tota: Sanctus Fuga Expand

Fuga

Voices:
Tenor
Bassus

Melodic interval of entry: 5-

Time interval of entry: S6

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<5043> Jon Oddie [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Soggetto, Periodic entry Expand

Soggetto, Periodic entry

Voice:
Bassus

Rhythmic durations: False

Melodic intervals: True

Ostinato: False

Periodic: False

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: True

Added: False

Invertible: False

Remarks: The soggetto indicated in the bass is not imitated in Josquin, but its contour is borrowed by Willaert for his imitative subject.

<5044> Jon Oddie [CRIM_Mass_0016_5] Missa Mente tota: Agnus Dei Imitative duo Expand

Imitative duo

Voices:
Bassus
Tenor
[ContratenorPrimus]
[Discantus]

Melodic interval of entry: 5+4+5+

Time interval of entry: B1/4/1

Strict: True

Flexed: False

Flexed, tonal: False

Invertible: False

Remarks: Willaert increases the contrapuntal density by giving the contratenor secundus two "semi-imitative" (SIm) partial entrances, beginning at the fourth note of the subject.

<5045> Jon Oddie [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Fuga Expand

Fuga

Voices:
Tenor
Bassus

Melodic interval of entry: 5-

Time interval of entry: B4

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<5046> Jon Oddie [CRIM_Mass_0016_5] Missa Mente tota: Agnus Dei Fuga Expand

Fuga

Voices:
[Discantus]
[ContratenorPrimus]

Melodic interval of entry: 5-

Time interval of entry: B1

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<5047> Jon Oddie [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Fuga Expand

Fuga

Voices:
Bassus
Tenor

Melodic interval of entry: 4+

Time interval of entry: B2

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<5048> Jon Oddie [CRIM_Mass_0016_5] Missa Mente tota: Agnus Dei Fuga Expand

Fuga

Voices:
[Discantus]
[ContratenorPrimus]

Melodic interval of entry: 5-

Time interval of entry: B1

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<5049> Jon Oddie [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Fuga Expand

Fuga

Voices:
Bassus
Tenor

Melodic interval of entry: 4+

Time interval of entry: B2

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<5050> Jon Oddie [CRIM_Mass_0016_5] Missa Mente tota: Agnus Dei Fuga Expand

Fuga

Voices:
[Discantus]
[ContratenorPrimus]

Melodic interval of entry: 5-

Time interval of entry: B1

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<5051> Jon Oddie [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Fuga, Periodic entry Expand

Fuga, Periodic entry

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:
Bassus
Tenor
Bassus
Tenor
Bassus
Tenor

Melodic interval of entry: 5+6-5+

Time interval of entry: M4/4/4

Strict: False

Flexed: True

Flexed, tonal: False

Sequential: False

Added: False

Invertible: False

<5052> Jon Oddie [CRIM_Mass_0016_5] Missa Mente tota: Agnus Dei Fuga Expand

Fuga

Voices:
[Discantus]
[ContratenorPrimus]
[Discantus]
[ContratenorPrimus]
[Discantus]
[ContratenorPrimus]

Melodic interval of entry: 5-3+5-3+5-

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

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Remarks: This could be analysed simply as a single fuga duo at the lower fifth; the analysis above highlights the internal motivic repetition within the canon, a feature which Willaert's passage has in common with Josquin's.

<5053> Jon Oddie [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Fuga Expand

Fuga

Voices:
Discantus
Tenor

Melodic interval of entry: 8-

Time interval of entry: B2

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Remarks: Time interval changes to B3 in second phrase

<5054> Jon Oddie [CRIM_Mass_0016_5] Missa Mente tota: Agnus Dei Imitative duo Expand

Imitative duo

Voices:
[ContratenorPrimus]
[Discantus]
Bassus
Tenor

Melodic interval of entry: 5+12-5+

Time interval of entry: B2/11/2

Strict: True

Flexed: False

Flexed, tonal: False

Invertible: False

<5055> Jon Oddie [CRIM_Model_0016] Mente Tota (from Vultuum tuum) Fuga Expand

Fuga

Voices:
Discantus
Tenor

Melodic interval of entry: 8-

Time interval of entry: B2

Periodic: False

Strict: True

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Remarks: Time interval changes to B3 in second phrase

<5056> Jon Oddie [CRIM_Mass_0016_5] Missa Mente tota: Agnus Dei Imitative duo Expand

Imitative duo

Voices:
[ContratenorPrimus]
[Discantus]
Bassus
Tenor

Melodic interval of entry: 5+12-5+

Time interval of entry: B2/11/2

Strict: True

Flexed: False

Flexed, tonal: False

Invertible: False

<5057> Richard Freedman [CRIM_Model_0008] Ave Maria Periodic entry Expand

Periodic entry

Voices:
[Superius]
Altus
Tenor
Bassus

Melodic interval of entry: 8-1+8-

Time interval of entry: L1/1/1

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Added: False

Invertible: False

<5058> Richard Freedman [CRIM_Mass_0005_1] Missa Ave Maria: Kyrie Fuga Expand

Fuga

Voices:
Altus
Sup[erius]

Melodic interval of entry: 8+

Time interval of entry: S5

Periodic: False

Strict: False

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<5059> Richard Freedman [CRIM_Model_0008] Ave Maria Periodic entry Expand

Periodic entry

Voices:
[Superius]
Altus
Tenor
Bassus

Melodic interval of entry: 8-1+8-

Time interval of entry: L1/1/1

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Added: False

Invertible: False

<5060> Richard Freedman [CRIM_Mass_0005_1] Missa Ave Maria: Kyrie Imitative duo Expand

Imitative duo

Voices:
Altus
Sup[erius]
Tenor
Bassus

Melodic interval of entry: 8+8-5-

Time interval of entry: S5/12/1

Strict: False

Flexed: False

Flexed, tonal: False

Invertible: True

<5061> Richard Freedman [CRIM_Model_0008] Ave Maria Periodic entry Expand

Periodic entry

Voices:
[Superius]
Altus
Tenor
Bassus

Melodic interval of entry: 8-1+8-

Time interval of entry: L1/1/1

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Added: False

Invertible: False

<5062> Richard Freedman [CRIM_Mass_0005_1] Missa Ave Maria: Kyrie Imitative duo Expand

Imitative duo

Voices:
Altus
Sup[erius]
Bassus
Altus

Melodic interval of entry: 8+12-8+

Time interval of entry: S5/13/5

Strict: False

Flexed: False

Flexed, tonal: False

Invertible: True

<5063> Richard Freedman [CRIM_Model_0008] Ave Maria Periodic entry Expand

Periodic entry

Voices:
[Superius]
Altus
Tenor
Bassus

Melodic interval of entry: 8-1+8-

Time interval of entry: L1/1/1

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Added: False

Invertible: False

<5064> Richard Freedman [CRIM_Mass_0005_1] Missa Ave Maria: Kyrie Imitative duo Expand

Imitative duo

Voices:
Altus
Sup[erius]
Bassus
Altus

Melodic interval of entry: 8+12-8+

Time interval of entry: S5/13/5

Strict: False

Flexed: False

Flexed, tonal: False

Invertible: False

<5065> Richard Freedman [CRIM_Model_0008] Ave Maria Periodic entry Expand

Periodic entry

Voices:
[Superius]
Altus
Tenor
Bassus

Melodic interval of entry: 8-1+8-

Time interval of entry: L1/1/1

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Added: False

Invertible: False

<5066> Richard Freedman [CRIM_Mass_0005_1] Missa Ave Maria: Kyrie Periodic entry Expand

Periodic entry

Voices:
Tenor
Altus
Sup[erius]
Tenor

Melodic interval of entry: 1+8+8-

Time interval of entry: S5/5/5

Strict: False

Flexed: False

Flexed, tonal: False

Sequential: False

Added: False

Invertible: False

<5067> Richard Freedman [CRIM_Model_0008] Ave Maria Periodic entry Expand

Periodic entry

Voices:
[Superius]
Altus
Tenor
Bassus

Melodic interval of entry: 8-1+8+

Time interval of entry: L1/1/1

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Added: False

Invertible: False

<5068> Richard Freedman [CRIM_Mass_0005_1] Missa Ave Maria: Kyrie Periodic entry Expand

Periodic entry

Voices:
Tenor
Altus
Sup[erius]
Tenor

Melodic interval of entry: 1+8+8-

Time interval of entry: S5/5/5

Strict: False

Flexed: False

Flexed, tonal: False

Sequential: False

Added: False

Invertible: False

<5069> Richard Freedman [CRIM_Model_0008] Ave Maria Soggetto Expand

Soggetto

Voice:
[Superius]

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<5070> Richard Freedman [CRIM_Mass_0005_1] Missa Ave Maria: Kyrie Soggetto Expand

Soggetto

Voice:
Sup[erius]

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<5071> Richard Freedman [CRIM_Model_0008] Ave Maria Soggetto Expand

Soggetto

Voice:
[Superius]

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<5072> Richard Freedman [CRIM_Mass_0005_1] Missa Ave Maria: Kyrie Soggetto Expand

Soggetto

Voice:
Sup[erius]

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<5073> Richard Freedman [CRIM_Model_0008] Ave Maria Periodic entry Expand

Periodic entry

Voices:
[Superius]
Altus
Tenor
Bassus

Melodic interval of entry: 8-1+8-

Time interval of entry: L1/1/1

Strict: False

Flexed: False

Flexed, tonal: False

Sequential: False

Added: False

Invertible: False

<5074> Richard Freedman [CRIM_Mass_0005_1] Missa Ave Maria: Kyrie Non-imitative duo Expand

Non-imitative duo

Voices:
Altus
Sup[erius]
Tenor
Bassus

Melodic interval of entry: 8-

Time interval of entry: L4

Strict: False

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

<5075> Richard Freedman [CRIM_Model_0008] Ave Maria None -

Observation

<5076> Richard Freedman [CRIM_Mass_0005_1] Missa Ave Maria: Kyrie Non-imitative duo Expand

Non-imitative duo

Voices:
Sup[erius]
Altus
Tenor
Bassus

Melodic interval of entry: 15-

Time interval of entry: S11

Strict: False

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

<5077> Richard Freedman [CRIM_Mass_0005_1] Missa Ave Maria: Kyrie Soggetto Expand

Soggetto

Voice:
Altus

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<5078> Richard Freedman [CRIM_Mass_0005_1] Missa Ave Maria: Kyrie Non-imitative duo Expand

Non-imitative duo

Voices:
Sup[erius]
Altus
Tenor
Bassus

Melodic interval of entry: 15-

Time interval of entry: S11

Strict: False

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

<5079> Richard Freedman [CRIM_Mass_0005_1] Missa Ave Maria: Kyrie Soggetto Expand

Soggetto

Voice:
Sup[erius]

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<5080> Richard Freedman [CRIM_Mass_0005_1] Missa Ave Maria: Kyrie Fuga Expand

Fuga

Voices:
Sup[erius]
Tenor

Melodic interval of entry: 8-

Time interval of entry: S3

Periodic: False

Strict: False

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<5081> Richard Freedman [CRIM_Mass_0005_1] Missa Ave Maria: Kyrie Soggetto Expand

Soggetto

Voice:
Altus

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<5082> Richard Freedman [CRIM_Mass_0005_1] Missa Ave Maria: Kyrie Fuga Expand

Fuga

Voices:
Bassus
Altus

Melodic interval of entry: 8-

Time interval of entry: S3

Periodic: False

Strict: False

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<5083> Richard Freedman [CRIM_Mass_0005_1] Missa Ave Maria: Kyrie Soggetto Expand

Soggetto

Voice:
Altus

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<5084> Richard Freedman [CRIM_Mass_0005_1] Missa Ave Maria: Kyrie Periodic entry Expand

Periodic entry

Voices:
Tenor
Altus
Sup[erius]

Melodic interval of entry: 1+8+

Time interval of entry: M1/1

Strict: False

Flexed: False

Flexed, tonal: False

Sequential: False

Added: False

Invertible: False

<5085> Richard Freedman [CRIM_Model_0008] Ave Maria Periodic entry Expand

Periodic entry

Voices:
[Superius]
Altus
Tenor
Bassus

Melodic interval of entry: 8-1+8-

Time interval of entry: L1/1/1

Strict: False

Flexed: False

Flexed, tonal: False

Sequential: False

Added: False

Invertible: False

<5086> Richard Freedman [CRIM_Mass_0005_1] Missa Ave Maria: Kyrie Periodic entry Expand

Periodic entry

Voices:
Altus
Bassus
Sup[erius]
Tenor

Melodic interval of entry: 8-12+8-

Time interval of entry: L1/1/1

Strict: False

Flexed: False

Flexed, tonal: False

Sequential: False

Added: False

Invertible: True

<5087> Richard Freedman [CRIM_Model_0008] Ave Maria Soggetto Expand

Soggetto

Voice:
Altus

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<5088> Richard Freedman [CRIM_Mass_0005_1] Missa Ave Maria: Kyrie Soggetto Expand

Soggetto

Voice:
Altus

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<5089> Richard Freedman [CRIM_Model_0008] Ave Maria Contrapuntal duo -

Contrapuntal duo

Voices:
Altus
Bassus

<5090> Richard Freedman [CRIM_Mass_0005_1] Missa Ave Maria: Kyrie Contrapuntal duo -

Contrapuntal duo

Voices:
Altus
Tenor

<5091> Richard Freedman [CRIM_Model_0008] Ave Maria Soggetto Expand

Soggetto

Voice:
Altus

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

<5092> Richard Freedman [CRIM_Mass_0005_1] Missa Ave Maria: Kyrie Contrapuntal duo -

Contrapuntal duo

Voices:
Sup[erius]
Altus

<5093> Richard Freedman [CRIM_Model_0008] Ave Maria Imitative duo Expand

Imitative duo

Voices:
Altus
[Superius]
Tenor
Bassus

Melodic interval of entry: 8+8-8-

Time interval of entry: S4/2/2

Strict: False

Flexed: False

Flexed, tonal: False

Invertible: True

<5094> Richard Freedman [CRIM_Mass_0005_1] Missa Ave Maria: Kyrie Fuga Expand

Fuga

Voices:
Altus
Tenor
Sup[erius]
Bassus

Melodic interval of entry: 1+8+8-

Time interval of entry: S2/3/6

Periodic: False

Strict: False

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<5095> Richard Freedman [CRIM_Model_0008] Ave Maria Periodic entry Expand

Periodic entry

Voices:
[Superius]
Altus
Tenor
Bassus

Melodic interval of entry: 8-1+8-

Time interval of entry: L1/1/1

Strict: True

Flexed: False

Flexed, tonal: False

Sequential: False

Added: False

Invertible: False

<5096> Richard Freedman [CRIM_Mass_0005_5] Missa Ave Maria: Agnus Dei Fuga Expand

Fuga

Voices:
Sup[erius]
Altus
Tenor
Bassus

Melodic interval of entry: 8-1+5-

Time interval of entry: S4/4/1

Periodic: False

Strict: False

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

<5097> Richard Freedman [CRIM_Model_0008] Ave Maria Non-imitative duo Expand

Non-imitative duo

Voices:
[Superius]
Altus
Tenor
Bassus

Melodic interval of entry: 5-4-5-

Time interval of entry: S1/9/1

Strict: False

Flexed: False

Flexed, tonal: False

Sequential: False

Invertible: False

<5098> Richard Freedman [CRIM_Mass_0005_5] Missa Ave Maria: Agnus Dei Imitative duo Expand

Imitative duo

Voices:
Tenor
Bassus
Sup[erius]
Altus

Melodic interval of entry: 5-8+5-

Time interval of entry: S1/17/1

Strict: False

Flexed: False

Flexed, tonal: False

Invertible: False

<5099> Richard Freedman [CRIM_Model_0008] Ave Maria Cadence Expand

Cadence

Cantizans: Sup[erius]

Tenorizans: Altus

Type: Authentic

Tone: C

Dovetail voice: Tenor

Dovetail interval: 1+

<5100> Richard Freedman [CRIM_Mass_0005_5] Missa Ave Maria: Agnus Dei Cadence Expand

Cadence

Cantizans: Tenor

Tenorizans: Bassus

Type: Phrygian

Tone: E