Sounding in different voice(s): True
Melodically inverted: False
Metrically shifted: False
Double or invertible counterpoint: False
Remarks: I want to consider the CAD as a quotation with monnayage, for the clausule of bassus is lead by an entry of the fuga with similar melody in the model and the mass. It is very fragile. For the whole Kyrie, Sohier does not find strong structural elements in the model, for this model is written quite freely. Only the soggetti are taken and turned into new fugas, this is why I indicated 'change of voice role'for every element I have studied.
Melodic interval of entry: 1+8+5-8+8-4+8-8+1+
Time interval of entry: M2/2/3/4/5/2/3/5/4
Dovetail voice: Superius
Remarks: The last soggetto of the model, leading do the final CAD. It starts with an ID, which is quite 'flexed', but I am so happy to find something else than a fuga... As the first voice of the second duo starts before the second voice of the first duo, the time intervals and intervals of entries will correspond to this order: TenorII, Superius, Bassus, Contra.
Melodic interval of entry: 5+1+5-8-
Time interval of entry: M4/8/4/6
Dovetail voice: [Superius]