CRIM

Citations: The Renaissance Imitation Mass Project

Relationships

ID Observer Model Derivative Relationship type Show details
<R1401> Stephanie Schlagel <2801> Ave Maria <2802> Missa Ave Maria: Credo New material Expand

New material

<R1402> Stephanie Schlagel <2803> Ave Maria <2804> Missa Ave Maria: Credo Mechanical transformation, Non-mechanical transformation Expand

Mechanical transformation, Non-mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: True

Double or invertible counterpoint: False

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

<R1403> Alexis Risler <2805> Benedicta es <2806> Missa Benedicta es: 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: False

<R1404> Alexis Risler <2807> Benedicta es <2808> Missa Benedicta es: Kyrie 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

<R1405> Alexis Risler <2809> Benedicta es <2810> Missa Benedicta es: Kyrie 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

<R1406> Alexis Risler <2811> Benedicta es <2812> Missa Benedicta es: Kyrie 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: True

Remarks: Palestrina uses top voice from Pieton NIMs and transforms slightly the CS

<R1407> Alexis Risler <2813> Benedicta es <2814> Missa Benedicta es: Kyrie 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

<R1408> Alexis Risler <2815> Benedicta es <2816> Missa Benedicta es: Kyrie 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

<R1409> Alexis Risler <2817> Benedicta es <2818> Missa Benedicta es: Gloria New material Expand

New material

<R1410> Alexis Risler <2819> Benedicta es <2820> Missa Benedicta es: Gloria New material Expand

New material

<R1411> Alexis Risler <2821> Benedicta es <2822> Missa Benedicta es: Gloria New material Expand

New material

<R1412> Jon Oddie <2823> Benedicta es <2824> Benedicta es 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

<R1413> Alexis Risler <2825> Benedicta es <2826> Missa Benedicta es: Gloria New material Expand

New material

<R1414> Jon Oddie <2827> Benedicta es <2828> Benedicta es Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: This brief quotation of the second chant phrase precedes the point of imitation for which it provides one of the two soggetti

<R1415> Jon Oddie <2829> Benedicta es <2830> Benedicta es Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: The chant subject is rhythmicised, ornamented with a cantizans cadence and made into one voice of a NIm.

<R1416> Alexis Risler <2831> Benedicta es <2832> Missa Benedicta es: Sanctus New material Expand

New material

<R1417> Alexis Risler <2833> Benedicta es <2834> Missa Benedicta es: Sanctus Quotation Expand

Quotation

Exact: False

Monnayage: True

<R1418> Alexis Risler <2835> Benedicta es <2836> Missa Benedicta es: Sanctus 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: True

Remarks: Only the top voice of Pieton's NIM is used by Palestrina

<R1419> Stephanie Schlagel <2837> Ave Maria <2838> Missa Ave Maria: Credo Quotation, Mechanical transformation Expand

Quotation, Mechanical transformation

Exact: True

Monnayage: False

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: False

Double or invertible counterpoint: True

<R1420> Alexis Risler <2839> Benedicta es <2840> Missa Benedicta es: Sanctus 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: True

Remarks: Only the top voice of Pieton's NIM is used by Palestrina

<R1421> Alexis Risler <2841> Benedicta es <2842> Missa Benedicta es: Sanctus New material Expand

New material

<R1422> Alexis Risler <2843> Benedicta es <2844> Missa Benedicta es: Sanctus New material Expand

New material

<R1423> Alexis Risler <2845> Benedicta es <2846> Missa Benedicta es: Sanctus New material Expand

New material

<R1424> Alexis Risler <2847> Benedicta es <2848> Missa Benedicta es: Agnus Dei New material Expand

New material

<R1425> Alexis Risler <2849> Benedicta es <2850> Missa Benedicta es: Agnus Dei New material Expand

New material

<R1426> Jon Oddie <2851> Benedicta es <2852> Benedicta es 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

Remarks: See other relationships for how this soggetto is used in non-imitative duos as well as in fuga

<R1427> Jon Oddie <2853> Benedicta es <2854> Benedicta es Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1428> Jon Oddie <2855> Benedicta es <2856> Benedicta es 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

<R1429> Jon Oddie <2857> Benedicta es <2858> Benedicta es 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

Remarks: This relationship captures only the entrances of the chant-derived soggetto in fuga; see others for the repeating non-imitative modules which it forms with countersubjects.

<R1430> Jon Oddie <2859> Benedicta es <2860> Benedicta es 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: This relationship captures only the NIms formed by this portion of the chant subject, which simultaneously participates in fuga; see the other relationship for details.

<R1431> Jon Oddie <2861> Benedicta es <2862> Benedicta es None Expand

Relationship

Remarks: This captures the fuga: see other relationship for the simultaneous use of the soggetto in NIms

<R1432> Jon Oddie <2863> Benedicta es <2864> Benedicta es 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

<R1433> Jon Oddie <2865> Benedicta es <2866> Benedicta es Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: True

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1434> Jon Oddie <2867> Benedicta es <2868> Benedicta es Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1435> Jon Oddie <2869> Benedicta es <2870> Benedicta es Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1436> Jon Oddie <2871> Benedicta es <2872> Benedicta es Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: The chant melody is ornamented as in the Josquin Benedicta es, with the insertion of a G between the B and A of the original chant melody (C-B-G-A-G) complicating its simple descent of a fourth (C-B-A-G)

<R1437> Jon Oddie <2873> Benedicta es <2874> Benedicta es Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: Subject ornamented as in previous section (and as in Josquin, Benedicta es)

<R1438> Jon Oddie <2875> Benedicta es <2876> Benedicta es Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R1439> Jon Oddie <2877> Benedicta es <2878> Benedicta es 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: False

<R1440> Alessandra Ignesti <2879> Mente Tota (from Vultuum tuum) <2880> Missa Mente tota: Gloria 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

<R1441> Alessandra Ignesti <2881> Mente Tota (from Vultuum tuum) <2882> Missa Mente tota: Gloria 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: False

<R1442> Alessandra Ignesti <2883> Mente Tota (from Vultuum tuum) <2884> Missa Mente tota: Gloria Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): False

Melodically inverted: False

Retrograde: True

Metrically shifted: False

Transposed: False

Double or invertible counterpoint: False

Remarks: In the Gloria, this soggetto is conflated with the embellished conclusion of the soggetto of the previous contrapuntal duo.

<R1443> Alessandra Ignesti <2885> Mente Tota (from Vultuum tuum) <2886> Missa Mente tota: Gloria Quotation Expand

Quotation

Exact: True

Monnayage: False

<R1444> Alessandra Ignesti <2887> Mente Tota (from Vultuum tuum) <2888> Missa Mente tota: Gloria New material Expand

New material

<R1445> Alessandra Ignesti <2889> Mente Tota (from Vultuum tuum) <2890> Missa Mente tota: Gloria New material Expand

New material

Remarks: I marked this as New Material although the incipit of the soggetto (first five note in the Bassus) quotes the soggetto of the initial contrapuntal duo of the Gloria (which in turn is a transformation of the soggetto of the PEn in the model), with slight rhythmical change.

<R1446> Alessandra Ignesti <2891> Mente Tota (from Vultuum tuum) <2892> Missa Mente tota: Gloria New material Expand

New material

<R1447> Alessandra Ignesti <2893> Mente Tota (from Vultuum tuum) <2894> Missa Mente tota: Gloria New material Expand

New material

<R1448> Alessandra Ignesti <2895> Mente Tota (from Vultuum tuum) <2896> Missa Mente tota: Gloria New material Expand

New material

<R1449> Alessandra Ignesti <2897> Mente Tota (from Vultuum tuum) <2898> Missa Mente tota: Gloria 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

<R1450> Alessandra Ignesti <2899> Mente Tota (from Vultuum tuum) <2900> Missa Mente tota: Gloria Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: True

Double or invertible counterpoint: False

<R1451> Alessandra Ignesti <2901> Mente Tota (from Vultuum tuum) <2902> Missa Mente tota: Gloria Quotation Expand

Quotation

Exact: False

Monnayage: True

<R1452> Raphaëlle Rouzic <2903> Veni sponsa Christi <2904> Missa Veni sponsa Christi: Sanctus Quotation, Mechanical transformation, Non-mechanical transformation Expand

Quotation, Mechanical transformation, Non-mechanical transformation

Exact: False

Monnayage: True

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: False

Transposed: True

Double or invertible counterpoint: False

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: Le SOGGETTO est dans un contexte imitatif. Cette entrée est une entrée "flexed" de la FUGA mesures 55 à 67 : T>C>A>B>C>A>T M4/2/9/11/2/8 @8+4-8-8+4-5- Mais cette FUGA ne constitue pas le fondement de la Relationship. Palestrina met en avant cette entrée au Superius (flexed) et la fait entendre en FUGA dans la messe. C'est le SOGGETTO qui est le fondement de la Relationship. Monnayage : change of some rhythmic durations Transposed : Model: soggetto: D -> Mass: C/C/C/G Amplified : Model: Soggetto -> Mass: Fuga This FUGA (mass) take part of a NiM: B>T S1 @4+ S5 A>S S1 @4+

<R1453> Alessandra Ignesti <2905> Mente Tota (from Vultuum tuum) <2906> Missa Mente tota: Gloria 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

Remarks: This melodic fragment is combined with the incipit of the soggetto of the opening imitative duo.

<R1454> Alessandra Ignesti <2907> Mente Tota (from Vultuum tuum) <2908> Missa Mente tota: Gloria Quotation Expand

Quotation

Exact: True

Monnayage: False

<R1455> Alessandra Ignesti <2909> Mente Tota (from Vultuum tuum) <2910> Missa Mente tota: Gloria 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

<R1456> Alessandra Ignesti <2911> Mente Tota (from Vultuum tuum) <2912> Missa Mente tota: Gloria None Expand

Relationship

Remarks: The correspondence between the two cadences is suggested by the pitch and the musical context.

<R1457> Alexis Risler <2913> Benedicta es <2914> Missa Benedicta es: Credo 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: True

Remarks: Only top voice of Pieton's NIM is used by Palestrina

<R1458> Alexis Risler <2915> Benedicta es <2916> Missa Benedicta es: 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: Fuga has the same sogetto than the IDs

<R1459> Alexis Risler <2917> Benedicta es <2918> Missa Benedicta es: Credo Mechanical transformation, Non-mechanical transformation Expand

Mechanical transformation, Non-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

<R1460> Raphaëlle Rouzic <2919> Veni sponsa Christi <2920> Missa Veni sponsa Christi: Sanctus Quotation, Mechanical transformation, Non-mechanical transformation Expand

Quotation, Mechanical transformation, Non-mechanical transformation

Exact: False

Monnayage: True

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: True

Double or invertible counterpoint: False

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: Monnayage : Model: first semi breve: two minims -> Mass: first semi breve: one minim and a half + one semi minim Metrically shifted : Model: S4/2 -> Mass: S5/8/4 This FUGA (mass) take part of a NiM: B>T S1 @4+ S5 A>S S1 @4+

<R1461> Alessandra Ignesti <2921> Mente Tota (from Vultuum tuum) <2922> Missa Mente tota: Gloria Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: All the voices in this passage correspond with the model, with slight changes.

<R1462> Alessandra Ignesti <2923> Mente Tota (from Vultuum tuum) <2924> Missa Mente tota: Gloria New material Expand

New material

<R1463> Alessandra Ignesti <2925> Mente Tota (from Vultuum tuum) <2926> Missa Mente tota: Gloria Quotation Expand

Quotation

Exact: True

Monnayage: False

<R1464> Alessandra Ignesti <2927> Mente Tota (from Vultuum tuum) <2928> Missa Mente tota: Gloria 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

<R1465> Alessandra Ignesti <2929> Mente Tota (from Vultuum tuum) <2930> Missa Mente tota: Gloria Quotation Expand

Quotation

Exact: True

Monnayage: False

<R1466> Alessandra Ignesti <2931> Mente Tota (from Vultuum tuum) <2932> Missa Mente tota: Gloria Quotation Expand

Quotation

Exact: True

Monnayage: False

<R1467> Alessandra Ignesti <2933> Mente Tota (from Vultuum tuum) <2934> Missa Mente tota: Gloria New material Expand

New material

<R1468> Alessandra Ignesti <2935> Mente Tota (from Vultuum tuum) <2936> Missa Mente tota: Gloria New material Expand

New material

<R1469> Alessandra Ignesti <2937> Mente Tota (from Vultuum tuum) <2938> Missa Mente tota: Gloria Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: There are rhythmic changes and the opening repeated notes in the model are eliminated, but the interval succession is preserved.

<R1470> Alexis Risler <2939> Benedicta es <2940> Missa Benedicta es: Credo New material Expand

New material

<R1471> Alessandra Ignesti <2941> Mente Tota (from Vultuum tuum) <2942> Missa Mente tota: Gloria 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: There are rhythmic changes and the opening repeated notes in the model are eliminated, but the interval succession is preserved.

<R1472> Alexis Risler <2943> Benedicta es <2944> Missa Benedicta es: Credo New material Expand

New material

<R1473> Alessandra Ignesti <2945> Mente Tota (from Vultuum tuum) <2946> Missa Mente tota: Gloria New material Expand

New material

<R1474> Alessandra Ignesti <2947> Mente Tota (from Vultuum tuum) <2948> Missa Mente tota: Gloria 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: False

<R1475> Alessandra Ignesti <2949> Mente Tota (from Vultuum tuum) <2950> Missa Mente tota: Gloria Omission Expand

Omission

<R1476> Alessandra Ignesti <2951> Mente Tota (from Vultuum tuum) <2952> Missa Mente tota: Gloria Omission Expand

Omission

<R1477> Raphaëlle Rouzic <2953> Veni sponsa Christi <2954> Missa Veni sponsa Christi: Sanctus Mechanical transformation, Non-mechanical transformation Expand

Mechanical transformation, Non-mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: False

Double or invertible counterpoint: False

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: Metrically shifted : L'"embellishment" (répétitions de la première note) décale les intervalles mélodiques mais le décalage de la seconde entrée permet de ne pas compromettre les modules du motif de tête.

<R1478> Alexis Risler <2955> Benedicta es <2956> Missa Benedicta es: Credo Mechanical transformation, Non-mechanical transformation Expand

Mechanical transformation, Non-mechanical transformation

Sounding in different voice(s): False

Melodically inverted: True

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

<R1479> Alexis Risler <2957> Benedicta es <2958> Missa Benedicta es: Credo 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: True

Remarks: Only the lower voice of Josquin's NIM is used by Palestrina

<R1480> Alexis Risler <2959> Benedicta es <2960> Missa Benedicta es: Credo 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: True

Remarks: Only the lower voice of Josquin's NIM is used by Palestrina

<R1481> Alexis Risler <2961> Benedicta es <2962> Missa Benedicta es: 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: True

New combination: True

<R1482> Raphaëlle Rouzic <2963> Veni sponsa Christi <2964> Missa Veni sponsa Christi: Sanctus Mechanical transformation, Non-mechanical transformation Expand

Mechanical transformation, Non-mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: True

Double or invertible counterpoint: False

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

Remarks: Metrically shifted : Model: M8/8/8/8 -> Mass: M5/4 Transposed : Model: G/C/F -> Mass: C/F/F Embellishment of firsts notes : Model: three minims -> Mass: 1 semi breve + 2 minims + 1 semi breve The Bassus presentation of the head motif is truncated

<R1483> Alexis Risler <2965> Benedicta es <2966> Missa Benedicta es: Credo New material Expand

New material

<R1484> Alexis Risler <2967> Benedicta es <2968> Missa Benedicta es: Credo New material Expand

New material

<R1485> Alexis Risler <2969> Benedicta es <2970> Missa Benedicta es: 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: True

<R1486> Alexis Risler <2971> Benedicta es <2972> Missa Benedicta es: Credo New material Expand

New material

<R1487> Alexis Risler <2973> Benedicta es <2974> Missa Benedicta es: Credo New material Expand

New material

<R1488> Alexis Risler <2975> Benedicta es <2976> Missa Benedicta es: Credo New material Expand

New material

<R1489> Alexis Risler <2977> Benedicta es <2978> Missa Benedicta es: Credo New material Expand

New material

<R1490> Alexis Risler <2979> Benedicta es <2980> Missa Benedicta es: Credo New material Expand

New material

<R1491> Alexis Risler <2981> Benedicta es <2982> Missa Benedicta es: Credo Mechanical transformation Expand

Mechanical transformation

Sounding in different voice(s): True

Melodically inverted: True

Retrograde: False

Metrically shifted: False

Transposed: False

Double or invertible counterpoint: False

<R1492> Alexis Risler <2983> Benedicta es <2984> Missa Benedicta es: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

Remarks: Only lower voice of Josquin's NIM is used by Palestrina in a embellished version

<R1493> Alexis Risler <2985> Benedicta es <2986> Missa Benedicta es: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: True

<R1494> Ian Lorenz <2987> Quo abiit dilectus tuus <2988> Missa Quo abiit dilectus tuus: Kyrie Quotation Expand

Quotation

Exact: True

Monnayage: False

<R1495> Ian Lorenz <2989> Quo abiit dilectus tuus <2990> Missa Quo abiit dilectus tuus: 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

<R1496> Ian Lorenz <2991> Quo abiit dilectus tuus <2992> Missa Quo abiit dilectus tuus: Kyrie Quotation Expand

Quotation

Exact: True

Monnayage: False

<R1497> Raphaëlle Rouzic <2993> Veni sponsa Christi <2994> Missa Veni sponsa Christi: Sanctus Mechanical transformation, Non-mechanical transformation Expand

Mechanical transformation, Non-mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: True

Double or invertible counterpoint: False

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: Transposed : Model: D/A/A -> Mass: A/A/E Metrically shifted : The modules stay almost the same. Reduced : In this PeN of the mass, the fourth note of the head motif is not repeated + The upper note of the head motif in the model: 1 semi breve +1 minim The upper note of the head motif in the mass: 1 semi breve

<R1498> Raphaëlle Rouzic <2995> Veni sponsa Christi <2996> Missa Veni sponsa Christi: Sanctus Mechanical transformation, Non-mechanical transformation Expand

Mechanical transformation, Non-mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: True

Double or invertible counterpoint: False

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: Reduced : In this PeN of the mass, the third note of the head motif is not repeated The upper note of the head motif in the model: 1 semi breve +1 minim The upper note of the head motif in the mass: 1 semi breve Transposed : Model: D/A/A -> Mass: D/D/D Metrically shifted : Because of the reduction, the modules stay almost the same.

<R1499> Raphaëlle Rouzic <2997> Veni sponsa Christi <2998> Missa Veni sponsa Christi: Sanctus Mechanical transformation, Non-mechanical transformation Expand

Mechanical transformation, Non-mechanical transformation

Sounding in different voice(s): True

Melodically inverted: False

Retrograde: False

Metrically shifted: True

Transposed: True

Double or invertible counterpoint: False

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: Transposed : Model: D/A/A -> Mass: C/G/A Reduced : In this PeN of the mass, the fourth note of the head motif is not repeated The upper note of the head motif in the model: 1 semi breve +1 minim The upper note of the head motif in the mass: 1 semi breve (Altus voice) Truncated : Bassus and Tenor voices Metrically shifted : Model: S3/3 -> Mass: S1/1

<R1500> Anne Nautré <2999> Voulant honneur <3000> Missa Voulant honneur: Kyrie Quotation Expand

Quotation

Exact: False

Monnayage: True