CRIM

Citations: The Renaissance Imitation Mass Project

Missa Baisez moy: Credo [CRIM_Mass_0017_3]

Mass movement

Relationships as derivative

ID Observer Relationship type Model Derivative Show details
<R805> Max Le Mée Mechanical transformation <1609> Baisez moy <1610> Expand

Mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: False

Double or invertible counterpoint: False

Remarks: We find back the idea of a 'two-voices cantus firmus'. This time, however, the change of time interval is such that it builds new combinations between the different elements of the Cantus Firmus.

<R806> Max Le Mée New material <1611> Baisez moy <1612> -

New material

<R808> Max Le Mée Non-mechanical transformation <1615> Baisez moy <1616> Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R809> Max Le Mée Quotation <1617> Baisez moy <1618> Expand

Quotation

Exact: False

Monnayage: True

<R811> Max Le Mée Quotation, Non-mechanical transformation <1621> Baisez moy <1622> Expand

Quotation, Non-mechanical transformation

Exact: True

Monnayage: False

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

Remarks: The soggetto is put at T1, accompanied by its retrograde at T2, then vice versa. It is presented as 'ma fin est mon commencement'. Surprisingly enough, it is an exact quotation of the soggetto.

<R813> Max Le Mée Quotation <1625> Baisez moy <1626> Expand

Quotation

Exact: False

Monnayage: True

Remarks: We find back the 'two-voices'cantus firmus. This time, the metre has changed, leading to a monnayage.