CRIM

Citations: The Renaissance Imitation Mass Project

Relationship <R83>

Observer: Max Le Mée

Mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: False

Double or invertible counterpoint: False

Remarks: The 'change of voice role prevents me from asserting a quotation with monnayage, even though the time intervals and the notes are the same.

Engraved by Verovio 2.2.0-dev-[undefined] 69 a con um, con li li a con va li va li va li um. um. um. Quae est i sta Quae quae pro est i ces sit, sta quae quae est i pro ces sit,

<165>

Imitative duo

Voices:
Superius
Contratenor
SecundusTenor
Bassus

Melodic interval of entry: 5-4-5-

Time interval of entry: S3/7/4

Strict: False

Flexed: True

Flexed, tonal: False

Invertible: False

Remarks: In the second duo, the first entry has been anticipated, so that the counterpoint is the one of an ID, even though the time interval of entries is not 'regular'. The Primis Tenor enters in imitation, turning the ID into a Fg.

Engraved by Verovio 2.2.0-dev-[undefined] 16 son, Ky Ky ri son, ri e son, ri e e lei e e lei e lei Ky ri Ky ri e e son, Ky e e lei lei son. ri e e lei son. son. son. son. Chri ste e Chri

<166>

Imitative duo

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

Melodic interval of entry: 5-5+5-

Time interval of entry: S3/8/3

Strict: True

Flexed: False

Flexed, tonal: False

Invertible: False

Remarks: There is an added entry in Tenor II in m.26