CRIM

Citations: The Renaissance Imitation Mass Project

Relationship <R89>

Observer: Max Le Mée

Quotation, Mechanical transformation

Exact: False

Monnayage: True

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: 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.

<177>

Fuga, Cadence

Voices:
SecundusTenor
PrimusTenor
Superius
Bassus
Contratenor
SecundusTenor
Bassus
Contratenor
SecundusTenor

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

Periodic: False

Strict: False

Flexed: True

Sequential: False

Inverted: False

Retrograde: False

Cantizans: Superius

Tenorizans: PrimusTenor

Type: authentic

Tone: G

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.

<178>

Fuga, Cadence

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

Melodic interval of entry: 5+1+5-8-

Time interval of entry: M4/8/4/6

Periodic: False

Strict: False

Flexed: True

Sequential: False

Inverted: False

Retrograde: False

Cantizans: [Superius]

Tenorizans: I.Tenor

Type: authentic

Tone: G

Dovetail voice: [Superius]