CRIM

Citations: The Renaissance Imitation Mass Project

Relationships

ID Observer Model Derivative Relationship type Show details
<R140> Max Le Mée <285> Vidi speciosam <286> Missa Vidi speciosam: Credo Omission Expand

Omission

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.

<R141> Max Le Mée <287> Vidi speciosam <288> Missa Vidi speciosam: Credo New material Expand

New material

<R96> Max Le Mée <195> Vidi speciosam <196> 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.

<R103> Max Le Mée <209> Vidi speciosam <210> Missa Vidi speciosam: Credo New material Expand

New material

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

<R95> Max Le Mée <193> Vidi speciosam <194> 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 important 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.

<R94> Max Le Mée <191> Vidi speciosam <192> 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

<R97> Max Le Mée <197> Vidi speciosam <198> Missa Vidi speciosam: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: True

Amplified: True

Truncated: False

New counter-subject: False

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R35> Max Le Mée <70> Vidi speciosam <71> 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.

<R99> Max Le Mée <201> Vidi speciosam <202> Missa Vidi speciosam: Credo New material Expand

New material

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

<R100> Max Le Mée <203> Vidi speciosam <204> 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 fuga becomes an ID, is it a truncation, a new combination?... The Mechanical Transformation is for the CAD.

<R69> Max Le Mée <139> Vidi speciosam <140> 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: Another fuga using the same soggetto...

<R78> Max Le Mée <157> Vidi speciosam <158> 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: 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.

<R81> Max Le Mée <163> Vidi speciosam <164> 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.

<R64> Max Le Mée <129> Vidi speciosam <130> 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.

<R67> Max Le Mée <135> Vidi speciosam <136> 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: 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...

<R68> Max Le Mée <137> Vidi speciosam <138> 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: Another fuga using the same soggetto...

<R79> Max Le Mée <159> Vidi speciosam <160> 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: 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.

<R76> Max Le Mée <153> Vidi speciosam <154> 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

<R104> Max Le Mée <211> Vidi speciosam <212> 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.

<R66> Max Le Mée <133> Vidi speciosam <134> Missa Vidi speciosam: Kyrie New material Expand

New material

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').