CRIM

Citations: The Renaissance Imitation Mass Project

Relationships

ID Observer Model Derivative Relationship type Show details
<R2211> Ian Lorenz <4421> Quo abiit dilectus tuus <4422> Missa Quo abiit dilectus tuus: Agnus Dei Quotation Expand

Quotation

Exact: True

Monnayage: False

<R2212> Scott Troyer <4423> Je n’en puis plus durer <4424> Missa Je n’en puis plus durer: Credo New material Expand

New material

<R2213> Scott Troyer <4425> Je n’en puis plus durer <4426> Missa Je n’en puis plus durer: Credo New material Expand

New material

<R2214> Scott Troyer <4427> Je n’en puis plus durer <4428> Missa Je n’en puis plus durer: Credo New material Expand

New material

<R2215> Scott Troyer <4429> Je n’en puis plus durer <4430> Missa Je n’en puis plus durer: Credo New material Expand

New material

<R2216> Scott Troyer <4431> Je n’en puis plus durer <4432> Missa Je n’en puis plus durer: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

<R2217> Scott Troyer <4433> Je n’en puis plus durer <4434> Missa Je n’en puis plus durer: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

<R2218> Scott Troyer <4435> Je n’en puis plus durer <4436> Missa Je n’en puis plus durer: Credo New material Expand

New material

<R2219> Scott Troyer <4437> Je n’en puis plus durer <4438> Missa Je n’en puis plus durer: 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: False

New combination: False

<R2220> Scott Troyer <4439> Je n’en puis plus durer <4440> Missa Je n’en puis plus durer: 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: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

<R2221> Scott Troyer <4441> Je n’en puis plus durer <4442> Missa Je n’en puis plus durer: Credo New material Expand

New material

<R2222> Scott Troyer <4443> Je n’en puis plus durer <4444> Missa Je n’en puis plus durer: Credo New material Expand

New material

<R2223> Jon Oddie <4445> Benedicta es <4446> 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: Morales seems to have taken a motive from Josquin's contrapuntal duo, re-spliced the first two notes (turning a rising third into a rising second), and formed it into fuga which simultaneously forms NIms with the chant soggetto. On purely musical grounds this might seem a relatively weak relationship, since the motives involved are generic. What is interesting are the resonances between the texts: Josquin's motive sets the text "quo salvantur omnia", and it is placed in counterpoint with a chant subject originally setting "et ex te verbum incarnatum" to set the new Credo text "et homo factus est". Furthermore, Josquin's motive immediately follows his own setting of "et ex te verbum incarnatum", but Morales has not taken Josquin's version of the preceding chant but made his own rhythmicisation/ornamentation.

<R2224> Scott Troyer <4447> Je n’en puis plus durer <4448> Missa Je n’en puis plus durer: Credo New material Expand

New material

<R2225> Scott Troyer <4449> Je n’en puis plus durer <4450> Missa Je n’en puis plus durer: Credo New material Expand

New material

<R2226> Scott Troyer <4451> Je n’en puis plus durer <4452> Missa Je n’en puis plus durer: Credo New material Expand

New material

<R2227> Scott Troyer <4453> Je n’en puis plus durer <4454> Missa Je n’en puis plus durer: Credo New material Expand

New material

<R2228> Scott Troyer <4455> Je n’en puis plus durer <4456> Missa Je n’en puis plus durer: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: False

New combination: False

<R2229> Scott Troyer <4457> Je n’en puis plus durer <4458> Missa Je n’en puis plus durer: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: False

Amplified: False

Truncated: False

New counter-subject: False

Old counter-subject shifted: True

Old counter-subject transposed: False

New combination: False

<R2230> Scott Troyer <4459> Je n’en puis plus durer <4460> Missa Je n’en puis plus durer: Credo New material Expand

New material

<R2231> Scott Troyer <4461> Je n’en puis plus durer <4462> Missa Je n’en puis plus durer: Credo New material Expand

New material

<R2232> Scott Troyer <4463> Je n’en puis plus durer <4464> Missa Je n’en puis plus durer: Credo New material Expand

New material

<R2233> Scott Troyer <4465> Je n’en puis plus durer <4466> Missa Je n’en puis plus durer: Credo New material Expand

New material

<R2234> Scott Troyer <4467> Je n’en puis plus durer <4468> Missa Je n’en puis plus durer: Credo New material Expand

New material

<R2235> Scott Troyer <4469> Je n’en puis plus durer <4470> Missa Je n’en puis plus durer: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

Remarks: The mass composer borrows a large block from the model with little alteration.

<R2236> Scott Troyer <4471> Je n’en puis plus durer <4472> Missa Je n’en puis plus durer: Credo Quotation Expand

Quotation

Exact: True

Monnayage: False

<R2237> Scott Troyer <4473> Je n’en puis plus durer <4474> Missa Je n’en puis plus durer: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

<R2238> Scott Troyer <4475> Je n’en puis plus durer <4476> Missa Je n’en puis plus durer: Credo New material Expand

New material

<R2239> Scott Troyer <4477> Je n’en puis plus durer <4478> Missa Je n’en puis plus durer: Credo New material Expand

New material

<R2240> Jon Oddie <4479> Benedicta es <4480> 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: True

Transposed: False

Double or invertible counterpoint: True

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: Morales's imitative subject is closest to the melody in Josquin's contratenor (not all of which is treated imitatively in Josquin).

<R2241> Scott Troyer <4481> Je n’en puis plus durer <4482> Missa Je n’en puis plus durer: 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 mass references the model at the point where the tenor enters. The previous material presented in the superius and contratenor does not appear to reference the model. It is noteworthy that this musical event references the model at its conclusion rather than its onset.

<R2242> Scott Troyer <4483> Je n’en puis plus durer <4484> Missa Je n’en puis plus durer: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

<R2243> Jon Oddie <4485> Benedicta es <4486> 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: True

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: Josquin's fuga begins with four periodic entrances and concludes with an imitative duo which repeats the module of the initial PEn. Morales's fuga begins with two presentations of an imitative duo and concludes with 4 periodic entrances.

<R2244> Jon Oddie <4487> Benedicta es <4488> Missa Benedicta es: Credo New material Expand

New material

<R2245> Jon Oddie <4489> Missa Benedicta es: Credo <4490> Missa Benedicta es: Credo 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

Remarks: Morales'phrase for "sepultus est" seems to refer back to his setting of "descendit" (which itself is quoted from Josquin).

<R2246> Jon Oddie <4491> Benedicta es <4492> Missa Benedicta es: Credo New material Expand

New material

<R2247> Jon Oddie <4493> Benedicta es <4494> Missa Benedicta es: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: True

Reduced: True

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: Two chant notes have been switched around (G-A-C-*B-G*- becomes G-A-C-*G-B*-) and the chant's repeated C reduced to a single note

<R2248> Ian Lorenz <4495> Quo abiit dilectus tuus <4496> Missa Quo abiit dilectus tuus: Credo Quotation Expand

Quotation

Exact: True

Monnayage: False

<R2249> Scott Troyer <4497> Je n’en puis plus durer <4498> Missa Je n’en puis plus durer: 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: False

<R2250> Scott Troyer <4499> Je n’en puis plus durer <4500> Missa Je n’en puis plus durer: Sanctus New material Expand

New material

<R2251> Ian Lorenz <4501> Quo abiit dilectus tuus <4502> Missa Quo abiit dilectus tuus: 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

<R2252> Ian Lorenz <4503> Quo abiit dilectus tuus <4504> Missa Quo abiit dilectus tuus: 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

<R2253> Scott Troyer <4505> Je n’en puis plus durer <4506> Missa Je n’en puis plus durer: Sanctus New material Expand

New material

<R2254> Ian Lorenz <4507> Quo abiit dilectus tuus <4508> Missa Quo abiit dilectus tuus: Credo Omission Expand

Omission

<R2255> Ian Lorenz <4509> Quo abiit dilectus tuus <4510> Missa Quo abiit dilectus tuus: Credo New material Expand

New material

<R2256> Ian Lorenz <4511> Quo abiit dilectus tuus <4512> Missa Quo abiit dilectus tuus: 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

<R2257> Ian Lorenz <4513> Quo abiit dilectus tuus <4514> Missa Quo abiit dilectus tuus: 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

<R2258> Ian Lorenz <4515> Quo abiit dilectus tuus <4516> Missa Quo abiit dilectus tuus: Credo 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

<R2259> Ian Lorenz <4517> Quo abiit dilectus tuus <4518> Missa Quo abiit dilectus tuus: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

<R2260> Ian Lorenz <4519> Quo abiit dilectus tuus <4520> Missa Quo abiit dilectus tuus: Credo Quotation Expand

Quotation

Exact: True

Monnayage: False

<R2261> Ian Lorenz <4521> Quo abiit dilectus tuus <4522> Missa Quo abiit dilectus tuus: 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: New and shorter modules created in the mass from the model

<R2262> Ian Lorenz <4523> Quo abiit dilectus tuus <4524> Missa Quo abiit dilectus tuus: Credo 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

<R2263> Ian Lorenz <4525> Quo abiit dilectus tuus <4526> Missa Quo abiit dilectus tuus: Credo 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

<R2264> Ian Lorenz <4527> Quo abiit dilectus tuus <4528> Missa Quo abiit dilectus tuus: Credo Omission Expand

Omission

<R2265> Ian Lorenz <4529> Quo abiit dilectus tuus <4530> Missa Quo abiit dilectus tuus: Credo Omission Expand

Omission

<R2266> Jon Oddie <4531> Benedicta es <4532> 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: True

Transposed: False

Double or invertible counterpoint: True

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

Remarks: Josquin's subject spans a (descending) octave; Morales's subject is initially limited to an ascending hexachord, with only the final two entrances spanning the full octave (with the final note ornamented with a cantizans cadence). The case for borrowing might seem debatable given that ascending scales are generic material; however, the rhythm of Morales's subject matches Josquin's, and a contrast is clearly intended with the preceding setting of "descendit" which more clearly borrows from the same passage of Josquin.

<R2267> Ian Lorenz <4533> Quo abiit dilectus tuus <4534> Missa Quo abiit dilectus tuus: 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

<R2268> Jon Oddie <4535> Benedicta es <4536> Missa Benedicta es: Credo New material Expand

New material

<R2269> Ian Lorenz <4537> Quo abiit dilectus tuus <4538> Missa Quo abiit dilectus tuus: 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

<R2270> Ian Lorenz <4539> Quo abiit dilectus tuus <4540> Missa Quo abiit dilectus tuus: Credo 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

<R2271> Jon Oddie <4541> Benedicta es <4542> Missa Benedicta es: Credo New material Expand

New material

<R2272> Jon Oddie <4543> Benedicta es <4544> Missa Benedicta es: Credo New material Expand

New material

<R2273> Ian Lorenz <4545> Quo abiit dilectus tuus <4546> Missa Quo abiit dilectus tuus: 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

<R2274> Jon Oddie <4547> Benedicta es <4548> Missa Benedicta es: Credo New material Expand

New material

<R2275> Ian Lorenz <4549> Quo abiit dilectus tuus <4550> Missa Quo abiit dilectus tuus: Credo Quotation Expand

Quotation

Exact: False

Monnayage: True

<R2276> Jon Oddie <4551> Benedicta es <4552> Missa Benedicta es: Credo New material Expand

New material

<R2277> Jon Oddie <4553> Benedicta es <4554> Missa Benedicta es: Credo 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

<R2278> Jon Oddie <4555> Benedicta es <4556> Missa Benedicta es: Credo Non-mechanical transformation Expand

Non-mechanical transformation

Embellished: False

Reduced: True

Amplified: False

Truncated: False

New counter-subject: True

Old counter-subject shifted: False

Old counter-subject transposed: False

New combination: False

Remarks: It is difficult to know whether to treat this as a citation of Mouton or of the chant itself. Morales subject remains closest to Mouton's version of this chant segment (also cited in previous movements), although he has altered its rhythm a little more than in most other citations (shortening the first note & introducing syncopation on "Filio"). Mouton's passing-note ornamentation is simplified as in other appearances of the subject.

<R2279> Jon Oddie <4557> Benedicta es <4558> 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: False

Remarks: I interpret Morales's subject here as a re-splicing and ornamentation of this chant segment, such that the second descending-fourth motive begins a third lower than the first, instead of on the same pitch. The second and third notes of each segment have also been re-arranged, changing the C-B-A-G contour into C-A-B-G)

<R2280> Jon Oddie <4559> Benedicta es <4560> 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: False

Remarks: This is a fairly weak relationship, and we could simply consider it new material.

<R2281> Jon Oddie <4561> Benedicta es <4562> Missa Benedicta es: Credo New material Expand

New material

<R2282> Jon Oddie <4563> Benedicta es <4564> 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: False

Remarks: Another fairly weak relationship; however, we might interpret the subject of this brief fuga as a re-splicing of the chant, with the second descending-fourth motive beginning a step below the first (instead of on the same pitch).

<R2283> Jon Oddie <4565> Benedicta es <4566> Missa Benedicta es: Credo New material Expand

New material

<R2284> Jon Oddie <4567> Benedicta es <4568> Missa Benedicta es: Credo 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

<R2285> Jon Oddie <4569> Benedicta es <4570> Missa Benedicta es: Credo 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

Remarks: Morales's concluding "Amen" is reduced with respect to Josquin's in that it doesn't keep Josquin's longer fuga duo in the Discantus and Tenor; on the other hand it is amplified in the greater density of motivic entries toward the end.

<R2286> Scott Troyer <4571> Je n’en puis plus durer <4572> Missa Je n’en puis plus durer: Sanctus New material Expand

New material

<R2287> Scott Troyer <4573> Je n’en puis plus durer <4574> Missa Je n’en puis plus durer: Sanctus New material Expand

New material

<R2288> Scott Troyer <4575> Je n’en puis plus durer <4576> Missa Je n’en puis plus durer: Sanctus New material Expand

New material

<R2289> Scott Troyer <4577> Je n’en puis plus durer <4578> Missa Je n’en puis plus durer: Sanctus New material Expand

New material

<R2290> Scott Troyer <4579> Je n’en puis plus durer <4580> Missa Je n’en puis plus durer: Sanctus New material Expand

New material

<R2291> Scott Troyer <4581> Je n’en puis plus durer <4582> Missa Je n’en puis plus durer: 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: False

New combination: False

<R2292> Scott Troyer <4583> Je n’en puis plus durer <4584> Missa Je n’en puis plus durer: Sanctus New material Expand

New material

<R2293> Scott Troyer <4585> Je n’en puis plus durer <4586> Missa Je n’en puis plus durer: 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: False

New combination: False

<R2294> Scott Troyer <4587> Je n’en puis plus durer <4588> Missa Je n’en puis plus durer: 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: False

New combination: False

<R2295> Scott Troyer <4589> Je n’en puis plus durer <4590> Missa Je n’en puis plus durer: Sanctus Quotation Expand

Quotation

Exact: False

Monnayage: True

<R2296> Scott Troyer <4591> Je n’en puis plus durer <4592> Missa Je n’en puis plus durer: Sanctus 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 soggetto is repeated periodically, transforming the model's fuga into a PEn.

<R2297> Scott Troyer <4593> Je n’en puis plus durer <4594> Missa Je n’en puis plus durer: Sanctus 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

<R2298> Scott Troyer <4595> Je n’en puis plus durer <4596> Missa Je n’en puis plus durer: Sanctus Quotation Expand

Quotation

Exact: False

Monnayage: True

<R2299> Scott Troyer <4597> Je n’en puis plus durer <4598> Missa Je n’en puis plus durer: Sanctus 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

<R2300> Scott Troyer <4599> Je n’en puis plus durer <4600> Missa Je n’en puis plus durer: 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: False

<R2301> Scott Troyer <4601> Je n’en puis plus durer <4602> Missa Je n’en puis plus durer: 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: False

<R2302> Scott Troyer <4603> Je n’en puis plus durer <4604> Missa Je n’en puis plus durer: 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: False

<R2303> Scott Troyer <4605> Je n’en puis plus durer <4606> Missa Je n’en puis plus durer: Sanctus New material Expand

New material

<R2304> Scott Troyer <4607> Je n’en puis plus durer <4608> Missa Je n’en puis plus durer: Agnus Dei 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

<R2305> Scott Troyer <4609> Je n’en puis plus durer <4610> Missa Je n’en puis plus durer: Agnus Dei 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

<R2306> Scott Troyer <4611> Je n’en puis plus durer <4612> Missa Je n’en puis plus durer: Agnus Dei 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

<R2307> Scott Troyer <4613> Je n’en puis plus durer <4614> Missa Je n’en puis plus durer: Agnus Dei 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

<R2308> Scott Troyer <4615> Je n’en puis plus durer <4616> Missa Je n’en puis plus durer: Agnus Dei New material Expand

New material

<R2309> Scott Troyer <4617> Je n’en puis plus durer <4618> Missa Je n’en puis plus durer: 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

<R2310> Scott Troyer <4619> Je n’en puis plus durer <4620> Missa Je n’en puis plus durer: Agnus Dei New material Expand

New material