CRIM

Citations: The Renaissance Imitation Mass Project

Relationship <R99>

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

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: I am not certain about the amplification. The figuralism emphasizes the fact that the counter-soggetto comes from the end of the soggetto, so that we really hear it as an amplification of the soggetto...

<197>

Soggetto

Voice:
Bassus

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

Voice:-

Rhythmic durations: True

Melodic intervals: True

Voices:
Bassus
Superius
PrimusTenor
SecundusTenor
Bassus
Contratenor
PrimusTenor
Superius
SecundusTenor

Melodic interval of entry: 8+5-4-5-7+6-5+8-

Time interval of entry: S2/1/1/2/1/2/1/2

Periodic: False

Strict: False

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Remarks: The end of the soggetto (the diatonic descent) is used as a counter-soggetto of its own, becoming independent on 'circumdabant'. This fact is important for Sohier will use this characteristic to produce a figuralism. I consider that the third entry, on the contra, starts one M later, for it is the only one that is 'flexed'.

<198>

Soggetto

Voice:
I.Tenor

Rhythmic durations: True

Melodic intervals: True

Ostinato: False

Periodic: False

Voice:-

Rhythmic durations: True

Melodic intervals: True

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

Melodic interval of entry: 5+4+8-4+

Time interval of entry: S1/1/1/3

Periodic: False

Strict: False

Flexed: False

Sequential: False

Inverted: False

Retrograde: False

Remarks: The counter-soggetto is used to make a figuralism on 'descendit de'. It is anticipated at the bassus on 'Qui proper nos". As this diatonic descent is also the end of soggetto, it can be considered as anticipated by the soggetto ('Qui propter nos homines, et proper nostram').