CRIM

Citations: The Renaissance Imitation Mass Project

Relationships

ID Observer Model Derivative Relationship type Show details
<R2683> Admin <5227> Vidi speciosam <5228> Missa Vidi speciosam: Kyrie New material Expand

New material

Remarks: This is a test.

<R2682> Admin <5225> Vidi speciosam <5226> Missa Vidi speciosam: Kyrie Quotation Expand

Quotation

Exact: True

Monnayage: False

Remarks: Test Nov 13

<R2681> Admin <5223> Vidi speciosam <5224> Missa Vidi speciosam: Kyrie Quotation Expand

Quotation

Exact: True

Monnayage: False

Remarks: Test Nov 13

<R85> Max Le Mée <169> Vidi speciosam <170> Missa Vidi speciosam: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: I consider the cadence of the mass as a new material, for it does not resemble at all the CAD in the model on 'con surgens', though it is at the same place on a point of view of form (the second Kyrie will start on the material of 'pulchra ut luna').

<R89> Max Le Mée <177> Vidi speciosam <178> Missa Vidi speciosam: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: 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.

<R88> Max Le Mée <175> Vidi speciosam <176> Missa Vidi speciosam: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: Another fuga using the same soggetto...

<R87> Max Le Mée <173> Vidi speciosam <174> Missa Vidi speciosam: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: Another fuga using the same soggetto...

<R86> Max Le Mée <171> Vidi speciosam <172> Missa Vidi speciosam: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: It is really the soggetto that is turned into another Fg. We can consider it as a Fg turned into a new Fg, with completely new voice roles...

<R84> Max Le Mée <167> Vidi speciosam <168> Missa Vidi speciosam: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: This assertion is interesting on the point point of view of form. If we take into account that Sohier started his Christe on the material of 'Quae est ista quae proces sit', the second part of the model, we can assume that the first Kyrie quotes the whole first part of the song. 'Vidi speciosam'and 'cuius inaestimabilis'are built on the same soggetto, which start on a fifth can be considered to be found back in the cadential 'et lilia con valium'. Between these three sentences, several soggetti have been omited by Sohier: 'ascendentem...', 'de super rivos', 'et sicut dies', circumdabant'. I assert a New combination, for I assume Sohier has taken three sentences and made them into one. We could also think, taking the omission into consideration, that the sentences of the model are just one big fuga, broken by some new soggetti, and that this fuga has been transformed with amplification and change of voice role.

<R83> Max Le Mée <165> Vidi speciosam <166> Missa Vidi speciosam: Kyrie Mechanical transformation Expand

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.

<R80> Max Le Mée <159> Vidi speciosam <160> Missa Vidi speciosam: Kyrie Quotation Expand

Quotation

Exact: True

Monnayage: False

Remarks: The position of the clausules (tenorizans, cantizans and bassus) is the same, and the two other voices behave with a delay that is quite comparable, which makes me think Sohier could have reproduced this CAD to finish his first Kyrie. I would not take any bet on this assertion, the model is not clearly structured - at least is very complex in its structure -, so it would not surprise me from Sohier to pick materials here and there in order to build his missa like a LEGO game...

<R79> Max Le Mée <157> Vidi speciosam <158> Missa Vidi speciosam: Kyrie Non-mechanical transformation, Omission Expand

Non-mechanical transformation, Omission

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: There are two ways to interpret this relationship. The first one is to consider that Sohier has amplified the first Fg in order to make his first Kyrie. The second one is to consider he has seen 'Vidi speciosam'and 'cuius inaestimabilis'as one and the same Fg, broken by another soggetto ('de super rivos aquarum') that he has decided to omit in his missa.

<R50> Max Le Mée <99> Vidi speciosam <100> Missa Vidi speciosam: Kyrie Mechanical transformation 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: The ID has been reproduced with regular entries, which probably explains the slight changes in the melodic lines.

<R293> Max Le Mée <585> Vidi speciosam <586> Missa Vidi speciosam: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R285> Max Le Mée <569> Vidi speciosam <570> Missa Vidi speciosam: Gloria Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: False

Double or invertible counterpoint: False

<R300> Max Le Mée <599> Vidi speciosam <600> Missa Vidi speciosam: Gloria Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: False

Double or invertible counterpoint: False

<R299> Max Le Mée <597> Vidi speciosam <598> Missa Vidi speciosam: Gloria Quotation Expand

Quotation

Exact: True

Monnayage: False

<R297> Max Le Mée <593> Vidi speciosam <594> Missa Vidi speciosam: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R295> Max Le Mée <589> Vidi speciosam <590> Missa Vidi speciosam: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R289> Max Le Mée <577> Vidi speciosam <578> Missa Vidi speciosam: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R287> Max Le Mée <573> Vidi speciosam <574> Missa Vidi speciosam: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: True

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R286> Max Le Mée <571> Vidi speciosam <572> Missa Vidi speciosam: Gloria New material Expand

New material

Remarks: Apparently New Material. Resembles the counter subject we find in the Credo at the same place.

<R183> Max Le Mée <365> Vidi speciosam <366> Missa Vidi speciosam: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R182> Max Le Mée <363> Vidi speciosam <364> Missa Vidi speciosam: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: Same new material than on 'Deus Pater'.

<R181> Max Le Mée <361> Vidi speciosam <362> Missa Vidi speciosam: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R180> Max Le Mée <359> Vidi speciosam <360> Missa Vidi speciosam: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: False

New combination: False

Remarks: Some added entries to both the modules that I do not take into account.

<R179> Max Le Mée <357> Vidi speciosam <358> Missa Vidi speciosam: Gloria New material Expand

New material

<R178> Max Le Mée <355> Vidi speciosam <356> Missa Vidi speciosam: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R177> Max Le Mée <353> Vidi speciosam <354> Missa Vidi speciosam: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R176> Max Le Mée <351> Vidi speciosam <352> Missa Vidi speciosam: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R175> Max Le Mée <349> Vidi speciosam <350> Missa Vidi speciosam: Gloria Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: True

New counter-subject: True

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R171> Max Le Mée <341> Vidi speciosam <342> Missa Vidi speciosam: Credo Non-mechanical transformation, Omission Expand

Non-mechanical transformation, Omission

Embellished: False

Reduced: False

Amplified: True

Truncated: True

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: ID becoming one Duo is a truncation. The echo of the 'second'part of the soggetto is an amplification. This echo is infact the soggetto of the model on 'electa ut sol', meaning that all the soggettos in between have been omitted.

<R173> Max Le Mée <345> Vidi speciosam <346> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R126> Max Le Mée <251> Vidi speciosam <252> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: The ID is truncated to only one duo. The cadence on D is New Material.

<R95> Max Le Mée <189> Vidi speciosam <190> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R174> Max Le Mée <347> Vidi speciosam <348> Missa Vidi speciosam: Credo Omission Expand

Omission

<R172> Max Le Mée <343> Vidi speciosam <344> Missa Vidi speciosam: Credo New material Expand

New material

<R170> Max Le Mée <339> Vidi speciosam <340> Missa Vidi speciosam: Credo Non-mechanical transformation, Omission Expand

Non-mechanical transformation, Omission

Embellished: False

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: There is a Cadence in the mass, but weaker by far than the CAD in the model. On a point a view of form, as the 'pause'and separation in two parts is not present, I consider it as an omission.

<R168> Max Le Mée <335> Vidi speciosam <336> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R166> Max Le Mée <331> Vidi speciosam <332> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R164> Max Le Mée <327> Vidi speciosam <328> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

Remarks: The Soggetto is reused as the basis of a HR.

<R134> Max Le Mée <267> Vidi speciosam <268> Missa Vidi speciosam: Credo Quotation, Non-mechanical transformation Expand

Quotation, Non-mechanical transformation

Exact: False

Monnayage: True

Embellished: False

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: I also indicate a truncation for all the fuga accompanying the Duo in the model is not present in the mass.

<R133> Max Le Mée <265> Vidi speciosam <266> Missa Vidi speciosam: Credo New material Expand

New material

Remarks: It looks like this New Material replaces 'de super rivos aquarum', which is omited.

<R132> Max Le Mée <263> Vidi speciosam <264> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

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

<R131> Max Le Mée <261> Vidi speciosam <262> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

Remarks: The 'main soggetto'is turned into an HR, and developed into a fuga.

<R130> Max Le Mée <259> Vidi speciosam <260> Missa Vidi speciosam: Credo New material Expand

New material

Remarks: Apparently a New Material, I cannot find where it could come from...

<R129> Max Le Mée <257> Vidi speciosam <258> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

Remarks: It looks like Sohier has reduced a former soggetto to turn it into a new soggetto, and built a fuga from it.

<R128> Max Le Mée <255> Vidi speciosam <256> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: A soggetto that we find back several pages before. It is reused on 'et resurexit'. It is probably far-fetched, but we can consider that Sohier makes a figuralism by 'resuscitating'an old soggetto... I assess a reduction, for I do not know what else I could assess...

<R127> Max Le Mée <253> Vidi speciosam <254> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: The fuga becomes an ID.

<R125> Max Le Mée <249> Vidi speciosam <250> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: The huge Fg of the model is severely truncated in the mass.

<R124> Max Le Mée <247> Vidi speciosam <248> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R123> Max Le Mée <245> Vidi speciosam <246> Missa Vidi speciosam: Credo New material Expand

New material

Remarks: I deem the HR on 'Iesum Christum'important enough to be noticed as New Material.

<R122> Max Le Mée <243> Vidi speciosam <244> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: Such an importand reduction/truncation that it could be considered an omision... if the text was not 'et invisibilium'. This section of the mass goes unnoticed in regard to 'visibilium ominum'that is built on the 'main theme'of the model. Sohier uses a quasi-omision to make a figuralism.

<R121> Max Le Mée <241> Vidi speciosam <242> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R100> Max Le Mée <199> Vidi speciosam <200> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: It is truncated for the fuga becomes a NIM, so that the soggetto is only used twice in the mass. It is amplified for the little CAD becomes overlapping CAD, based on a NIM.

<R99> Max Le Mée <197> Vidi speciosam <198> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

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...

<R98> Max Le Mée <195> Vidi speciosam <196> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: The 'answer'of the ID, in the model, is turned into a soggetto, repeated in the mass as a countrapuntal block duplicated at contra and bassus.

<R97> Max Le Mée <193> Vidi speciosam <194> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: The 'answer'of the ID, in the model, is turned into a soggetto, repeated in the mass as a countrapuntal block duplicated at contra and bassus.

<R96> Max Le Mée <191> Vidi speciosam <192> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R384> Max Le Mée <767> Vidi speciosam <768> Missa Vidi speciosam: Sanctus Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

Remarks: The 'flexed tonal'entry becomes first, and the 'original'entry becomes second in the duos.

<R393> Max Le Mée <785> Vidi speciosam <786> Missa Vidi speciosam: Sanctus Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R392> Max Le Mée <783> Vidi speciosam <784> Missa Vidi speciosam: Sanctus Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R390> Max Le Mée <779> Vidi speciosam <780> Missa Vidi speciosam: Sanctus Omission Expand

Omission

<R388> Max Le Mée <775> Vidi speciosam <776> Missa Vidi speciosam: Sanctus Omission Expand

Omission

<R387> Max Le Mée <773> Vidi speciosam <774> Missa Vidi speciosam: Sanctus Quotation Expand

Quotation

Exact: True

Monnayage: False

Remarks: The CAD takes more importance in the mass as it concludes a part.

<R386> Max Le Mée <771> Vidi speciosam <772> Missa Vidi speciosam: Sanctus Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R385> Max Le Mée <769> Vidi speciosam <770> Missa Vidi speciosam: Sanctus Omission Expand

Omission

<R578> Max Le Mée <1155> Vidi speciosam <1156> Missa Vidi speciosam: Agnus Dei Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: The first duo of the mass contains an anticipation of the countersubject in the soggetto, making it embellished and amplified at the same time.

<R2576> Richard Freedman <1155> Vidi speciosam <1156> Missa Vidi speciosam: Agnus Dei Omission Expand

Omission

<R426> Max Le Mée <851> Vidi speciosam <852> Missa Vidi speciosam: Agnus Dei Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R2578> Richard Freedman <1159> Vidi speciosam <1160> Missa Vidi speciosam: Agnus Dei Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R580> Max Le Mée <1159> Vidi speciosam <1160> Missa Vidi speciosam: Agnus Dei Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R2577> Richard Freedman <1157> Vidi speciosam <1158> Missa Vidi speciosam: Agnus Dei Quotation Expand

Quotation

Exact: False

Monnayage: True

<R579> Max Le Mée <1157> Vidi speciosam <1158> Missa Vidi speciosam: Agnus Dei Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R425> Max Le Mée <849> Vidi speciosam <850> Missa Vidi speciosam: Agnus Dei Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R424> Max Le Mée <847> Vidi speciosam <848> Missa Vidi speciosam: Agnus Dei Non-mechanical transformation Expand

Non-mechanical transformation

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

<R2673> Admin <5207> O gente brunette <5208> Missa O gente brunette: Kyrie Quotation Expand

Quotation

Exact: True

Monnayage: False

<R2672> Admin <5205> O gente brunette <5206> Missa O gente brunette: Kyrie Quotation Expand

Quotation

Exact: True

Monnayage: False

<R1682> Scott Troyer <3363> O gente brunette <3364> Missa O gente brunette: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: True

New combination: False

Remarks: The bassus part from the model initially sounds in the tenor voice of the mass. The line shifts back to the bassus in measure 26 of the mass, at which time the tenor picks up its own part from the corresponding section of the model. Each voice in the mass also contains an amplification that extends the passage by two two semibreves: measure 28 in the superius and contratenor, the second half of measure 27 and the first half of measure 28 in the tenor and bassus.

<R1678> Scott Troyer <3355> O gente brunette <3356> Missa O gente brunette: Kyrie Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: True

Double or invertible counterpoint: False

<R2561> Richard Freedman <1125> O gente brunette <1126> Missa O gente brunette: Kyrie New material Expand

New material

<R563> Manon Manfredi <1125> O gente brunette <1126> Missa O gente brunette: Kyrie Quotation, Mechanical transformation Expand

Quotation, Mechanical transformation

Exact: False

Monnayage: True

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: True

Double or invertible counterpoint: False

<R278> Scott Troyer <555> O gente brunette <556> Missa O gente brunette: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: The contratenor and bassus retained structural tones in the mass, altering some vertical sonorities found in the model.

<R1750> Scott Troyer <3499> O gente brunette <3500> Missa O gente brunette: Kyrie Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: True

Double or invertible counterpoint: False

Remarks: Global transposition 5-

<R1683> Scott Troyer <3365> O gente brunette <3366> Missa O gente brunette: Kyrie Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: True

Double or invertible counterpoint: False

<R1681> Scott Troyer <3361> O gente brunette <3362> Missa O gente brunette: Kyrie Non-mechanical transformation 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: True

Remarks: The superius and bassus parts from the model have been used to create a contrapuntal duo in the tenor and bassus parts of the mass.

<R1680> Scott Troyer <3359> O gente brunette <3360> Missa O gente brunette: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: True

New combination: False

<R1679> Scott Troyer <3357> O gente brunette <3358> Missa O gente brunette: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

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

<R1677> Scott Troyer <3353> O gente brunette <3354> Missa O gente brunette: Kyrie Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: True

Double or invertible counterpoint: False

<R1676> Scott Troyer <3351> O gente brunette <3352> Missa O gente brunette: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R1675> Scott Troyer <3349> O gente brunette <3350> Missa O gente brunette: Kyrie Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: True

Double or invertible counterpoint: False

<R1674> Scott Troyer <3347> O gente brunette <3348> Missa O gente brunette: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R1673> Scott Troyer <3345> O gente brunette <3346> Missa O gente brunette: Kyrie New material Expand

New material

<R1672> Scott Troyer <3343> O gente brunette <3344> Missa O gente brunette: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R2575> Richard Freedman <1153> O gente brunette <1154> Missa O gente brunette: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R577> Manon Manfredi <1153> O gente brunette <1154> Missa O gente brunette: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R2574> Richard Freedman <1151> O gente brunette <1152> Missa O gente brunette: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: False

New combination: False

Remarks: New Mass section nevertheless repeats soggetto and musical type from just before the plagal cadence in bar 63, then arrives at a new cadence S/T>G in bar 72. What was a full texture in those earlier bars is now just a2.

<R576> Manon Manfredi <1151> O gente brunette <1152> Missa O gente brunette: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True

<R575> Manon Manfredi <1149> O gente brunette <1150> Missa O gente brunette: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: False

Amplified: False

Truncated: True

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: Dans le modèle de Champion la section est répétée à l'identique, cette même section reprise dans la messe, est elle aussi répétée à l'identique mais elle est truncated puisque seulement les deux premières mesures sont reprises.

<R2573> Richard Freedman <1149> O gente brunette <1150> Missa O gente brunette: Kyrie Non-mechanical transformation Expand

Non-mechanical transformation

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