2 7 9 W I

/vg/J /Vo,

A STUDY OF ROOT MOTION IN PASSAGES LEADING

TO FINAL CADENCES IN SELECTED MASSES

OF THE LATE SIXTEENTH CENTURY

DISSERTATION

Presented to the Graduate Council of the

North Texas State University in Partial

Fulfillment of the Requirements

For the Degree of

DOCTOR OF PHILOSOPHY

By

David R. Lindsey, B.M., M.A,

Denton, Texas

August, 1979

Lindsey, David R., A Study of Root Motion in Passages

Leading to Final Cadences in Selected Masses of the Late

Sixteenth Century. Doctor of Philosophy (Music Theory),

August, 1979, 223 pp., 8 tables, bibliography, 51 titles.

During the late sixteenth century, cadential formulae

had become clearly established. The vertical combinations

(chords) resulting from these cadential formulae resulted in

numerous standardizations in the approach to the cadence.

Consequently, a reasonable possibility exists that cadential

formulae pointed the way toward the realization of chord pro-

gressions and chord relationships.

This study is concerned with the vertical combinations

resulting from late sixteenth century cadential formulae and

in passages immediately preceding these formulae. The in-

vestigation is limited to Masses dating from the last half

of the sixteenth century and utilizes compositions from the

following composers: Handl, Kerle, Lassus, Merulo, Monte,

Palestrina, Victoria.

Based upon the belief that harmonic sequence emerged in

an evolutionary manner, the purpose of this investigation is

to determine the degree, if any, to which root motion was

being organized in cadential passages in Masses. The study

utilizes 321 cadential passages. Six sonorities (chords)

from each passage were analyzed and the roots of each sonority

were identified by a Roman numeral in accordance with Rameau's

/ Theory of Inversion as enunciated in his Traite de 1'harmonie

' . \ . . reduite a ses principes naturels. The chord roots were tabu-

lated according to patterns containing three, four, five, and

six chords respectively, a frequency of occurrence for each

pattern was listed, and a percentage based upon the frequency

of occurrence was calculated.

The concluding portion of the investigation determines

types and percentages of root movement permeating each of the

321 cadential passages used in this study. Each root move-

ment was classified according to one of three primary inter-

vallic distances, i.e. fifth, third, second, and the resultant

percentages were tabulated according to progressions involving

three, four, five, and six chords respectively.

This study concludes that the progressions I-V-I and

I-IV-I appear to be the only two root progressions receiving

high enough percentages to be regarded as significant. These

percentages are tempered by the fact that I-V-I and I-IV-I

may be interpreted as repetitions of standardized cadential

formulae found in the sixteenth century.

The study also concludes that root motion by fifth

accounts for no less than 67.35 per cent of the root move-

ments analyzed during the investigation. The percentage

differential between root movement by fifth and root move-

ment by second (the interval receiving the next highest

percentage) at no time drops below 40.41 per cent. The

evidence indicates that root movement by fifth does account

for the majority of the root motion analyzed in final caden-

tial passages of Masses dating from the late sixteenth century.

The percentage differential between root motion by second and

root motion by third decreases as the chord progressions be-

come longer. None of the differential percentages were judged

to be high enough as to merit placing any significance of root

motion by second over root motion by third.

A J (a

TABLE OF CONTENTS

Page LIST OF TABLES iv

Chapter

I. INTRODUCTION 1

II. ANALYSIS OF ROOT MOVEMENT LEADING

TO FINAL CADENCES 15

III. CONCLUSIONS 38

APPENDIX 48

BIBLIOGRAPHY 219

i n

LIST OF TABLES

Table Page

I. Numerical and Percentage Frequencies of Specific Cadential Progressions Involving Three Chords 18

II. Numerical and Percentage Frequencies of Specific Cadential Progressions Involving Four Chords 19

III. Numerical and Percentage Frequencies of Specific Cadential Progressions Involving Five Chords 22

IV. Numerical and Percentage Frequencies of Specific Cadential Progressions Involving Six Chords 28

V. Percentages of Root Movement Involving Progressions of Three Chords 40

VI. Percentages of Root Movement Involving Progressions of Four Chords. . 41

VII. Percentages of Root Movement Involving Progressions of Five Chords. . . 42

VIII. Percentages of Root Movement Involving Progressions of Six Chords 42

xv

CHAPTER I

INTRODUCTION

The transition from Renaissance to Baroque has often

been observed as one of the truly epochal periods in the

history of music. With the year 1600 being arbitrarily set

as the beginning of the Baroque, and considering the rather

large concentration of musical events taking place at this

time, one is led to the presumption that stylistic changes

were beginning to materialize several years before the be-

ginning of the seventeenth century. The fact is, "the

conception of the nature and function of music that found

its expression in the new forms was already present in the

attitudes of progressive musicians who worked in the last

half of the sixteenth century.""'"

Music historians have tended more and more to push back

the boundary between the Renaissance and the Baroque toward

2

the middle of the sixteenth century. Using the fifty-year

period between 1550 to 1600 as a reference, this dissertation

represents an investigatiq>n into the transition that often

serves as one of the basic? demarcations between Renaissance

Claude Palisca, "Th6 Beginnings of Baroque Music; Its Roots in Sixteenth Century Theory and Polemics," unpublished doctoral dissertation, Harvard University, Cambridge, Mass., 1951, Summary, p. 1.

2 Ibid., p. vi.

and Baroque: the phenomenon in which chord progressions

governed by modality begin to be governed by a system of

chordal relations based on the attraction of a tonal center.

The prime impetus for selecting the material used in

this investigation resulted from questions left unanswered

after several years of teaching courses in counterpoint and

harmony, and from those questions which arose from various

attempts at analyzing music from the late sixteenth and

seventeenth centuries. Some of these questions are reflected

in the following statement by Lowinsky:

The music of the sixteenth century was for the greatest part conceived within the framework of the church modes. Yet we meet with phenomena—indeed, with whole repertories—which do not fit into the traditional system of the eight modes but show, often in an astonish-ing manner, prefigurations of tonal and even atonal thinking.

Music theorists began to give rules concerning the ver-

tical distribution of three tones as early as the first half

4

of the fourteenth century. During the late fifteenth century,

intervals favored in cadential chords became more firmly

established, and by the last decade of that century, numerous

theoretical treatises listed actual cadential formulae in 5

the rules of composition.

3 Edward E. Lowinsky, Tonality and Atonality in Sixteenth

Century Music (Berkeley, 1962), p. 1. 4 Helen E. Bush, "The Recognition of Chordal Formation by

Early Music Theorists," Musical Quarterly, XXXII (April, 1946), 227.

5Ibid., pp. 231-232.

With the late sixteenth century, cadential formulae had

now been clearly established. Considering the vertical com-

binations (chords) resulting from these cadential formulae,

and considering the ample amount of information dealing with

cadences which was supplied by late fifteenth and sixteenth

century theorists, a very reasonable possibility exists that

cadential formulae pointed the way toward the realization of

chord progressions and chord relationships.

In seeking the factors most responsible for the gradual dissolution of the modal system we arrive of necessity at the harmonic considerations embodied in the final cadential formulae. The close was always considered the determiner of the mode—this being a psychological necessity. The approach to the close therefore is of primary importance; and since aesthetic considerations brought about numerous standardizations in this approach, composers and theorists were faced with the gradual unification of harmonic means which eventually were to be incorporated into a unified tonal system. Tonality is a vertical concept; modality is horizontal. Therefore we can understand the gradual evolution of the tonal medium most effectively through a survey of the harmonic trends depicted in the final cadence.^

It is not the purpose of this investigation to trace

cadential development, per se; more precise delimitation of

the subject will be presented later in this chapter. However,

the study is concerned with the vertical combinations resulting

from sixteenth century cadential formulae and most particularly

6 See Robert W. Wienpahl, "Modal Usage in Masses of the

Fifteenth Century," Journal of the American Musicological Society, V (Spring, 1952), 37-52.

7 Robert W. Wienpahl, "The Evolutionary Significance of

Fifteenth Century Cadential Formulae," Journal of Music Theory, IV (November, 1960), 131.

in the passages immediately preceding these formulae. Based

upon the belief that harmonic sequence (sometimes referred

to as "functional harmony") emerged in an evolutionary manner,

this thesis will determine through the study of root motion

whether or not there is internal evidence which leads one to

conclude that composers were organizing this music (consciously

or unconsciously) in a degree which could be regarded as an

ancestral precursor to "functional harmony."

Regarding the important subject of chordal progression

during the years 1550 to 1600, the information presently

available does not adequately determine whether the feeling

for harmonic progression extended to the chords appearing

immediately before the penultimate and final or was confined

to just these last two vertical combinations. "Suffice it

to say that the concept of chordal progression probably first

developed here [at cadences] and was later incorporated in O

the sections between the cadences."

In deference to the late fifteenth and sixteenth century

theorists who codified important (and in many cases, ex-

haustive) material regarding cadences, it would seem these

theorists had become increasingly aware of chordal formation

along with the many possible vertical arrangements of voices

at cadence points. However, "unlike [many of] the active

composers who—even in Dunstable's time—possessed a feeling

for harmony, the theorist persisted in regarding each voice

8 Bush, op. cit., p. 242.

as an entity in itself. In contrast to the contemporary

composer, he was most conservative in his ideas and pre-

cepts .

In fact, it was not until the early eighteenth century that Rameau (1722), Fux (1725), and others formally recognized them [harmonies] as structural and compositional elements. This late recognition is all the more striking in view of the extensive use of simple chordal progressions in various periods of early music history [see Familiar Style] and, par-ticularly, in view of the seventeenth century practice of thoroughbass, which is essentially harmonic in nature.

The late recognition of harmony as a structural and

compositional element by theorists serves to emphasize the

primary significance of this paper. Historically, theo-

retical treatises have rarely (if ever) kept pace with the

ideas being expressed in the music of the contemporary com-

poser. Instead, the treatises most often suggest what had

been the mode of thinking several years earlier. In spite

of the fact that Rameau and others finally recognized harmony

as a compositional element in the eighteenth century, no

clear documentation has ever been offered as to the degree

ecclesiastical music of the sixteenth century was being

affected by the ancestral precursors of functional harmony.

This lack of specific information is particularly true for

the important years 1550 to 1600.

^Ibid., pp. 242-243.

^^"Harmony," Harvard Dictionary of Music, 2nd ed. (Cambridge, Mass., 1972).

Two studies, already cited in this chapter, can be

recognized as having significant influence upon this in-

vestigation. The most recent study dealing with chordal

progressions in sixteenth century music was conducted in

11

1961 by Edward Lowinsky. Lowinsky's study traces the

emergence and growth of eighteenth century tonality from

Dunstable and Dufay, the frottola and villancico, to Josquin,

the French chanson, the Italian cazonetta and balletto, and

finally to the English madrigal and lute air. The study

concludes that "in secular vocal music tonality emerged;

but in the instrumental dance literature it had the strongest 12

representation right from the beginning of the century."

The principal conclusion of Lowinsky's work, therefore,

is that the development of tonality is allied principally

with the development of dance music, that is, with instru-

mental forms. It is Lowinsky's contention that ecclesiastical

music was so intimately tied to plain chant, that the old

modes reigned supreme. Consequently, the bulk of his study

deals mostly with instrumental music and with the concept of

"tonality."

A study conducted in 1946 by Helen Bush furnished much

valuable information on chordal formation and the treatment

of cadences particularly as they were recognized by early

"'""'"Lowinsky, op. cit.

12Ibid., p. 75.

13

music theorists. A great deal of chronological evidence

is given which underlines the real service early theorists

rendered in systematizing chordal structure. However, it

was not the purpose of this study to trace cadential develop-

ment and root motion, nor was there any attempt to furnish

information regarding chordal relations.

Delimitations

An investigation usually implies a systematic search

or inquiry in an attempt to learn the facts about something

hidden, unique, or complex. With regard to music, an in-

vestigation will usually be capable of some form of analytical

procedure. The resulting analysis, in turn, will yield find-

ings that are significant. In order for the analytical pro-

cedure to be valid, it is obviously necessary to delimit the

material to be investigated. Therefore, the present study is

concerned only with passages leading to final cadences from

Masses dating from the last half of the sixteenth century

and only with composers associated and trained in the tra-

dition of the Roman Catholic Church.14 The following list

results:

^Bush, 0£. cit.

14 The investigation is also limited to Masses which have

been transcribed into modern notation.

Handl (known as Gallus).... 1550-1591 Kerle, Jacobus de 1531-1591 Lassus 1532-1594 Merulo 1533-1604 Monte (de Monte) 1521-1603 Palestrina 1525-1594,-Victoria 1540-1611J-3

In the interest of gaining as complete a representation

of examples as possible, the original desire was to gather

approximately fifty passages leading to final cadences per

composer. As the study progressed it was discovered that

few significant root patterns were apparent past six chordal

combinations. The final decision, therefore, was to limit

each example to six chords, since this number seemed to rep-

resent the point after which no meaningful conclusions or

percentages could be compiled.

The arbitrary number of fifty examples per composer

likewise had to be adjusted downward to as low as thirty in

the case (for example) of Merulo. Only six Masses were

available for Claudio Merulo and also for Jacobus de Kerle—

resulting in thirty and thirty-four examples respectively.

The total number of examples per composer eventually re-

sulted in the following:

15 By no means is this list intended to be inclusive of

all the composers of Masses during the years 1550 to 1600. These particular composers were chosen because they are recognized masters of the style, and also because they rep-resent the widest cross section of composers of Masses during this particular period of music history.

Composer Total Number of Examples

Handl 48 Kerle 34 Lassus 52 Merulo 30 Monte 52 Palestrina ^16 Victoria 56

A problem arose (i.e. Palestrina) where the composer

17

chose to utilize a commixtio just before the final cadence.

Several times the commixtio occurred during the final passages

being used for the investigation. Since the purpose of this

dissertation is to study root motion in relation to final ca-

dences only, the chordal analysis of those examples involving a

commixtio had to be limited strictly to the material affecting

just the final cadence. This resulted in several examples

showing analyses of only two to five chordal combinations—

depending upon where the commixtio occurred. The Appendix

to this paper, therefore, will show certain examples con-

taining less than the six previously mentioned chord groups.

Those composers where the number of examples exceeds fifty was only the result of a desire to include all portions of the Masses being investigated. To have listed any less than the numbers given above would have meant excluding the final portions of the last Mass being studied. No particular preference was intended for any one composer over another.

17 . . . The term commixtio is used to describe a type of

"modulation" in which a musical passage shifts to a different mode (e.g. Dorian to Mixolydian). The term mixtio is used to describe a "modulation" from an authentic mode to the plagal form of the same mode or vice versa (Aeolian to Hypo-aeolian). See Samuel Scott, The Sacred Vocal Counterpoint of the Sixteenth Century (Denton, Texas, 1971), pp. 16-18.

10

The term "functional harmony" is generally applied to

music of the so-called "common practice period" (ca. 1600-

1900), and with regard to the late sixteenth century the

term may be considered inappropriate. For the purpose of

this study, no attempt will be made to imply that music of

the late sixteenth century contained "functional harmony"

nor will there even be any attempt to formulate a definition

for the term. As stated earlier, it is the purpose of this

study to investigate the degree, if any, to which composers

were beginning to organize material leading to final cadences

in Masses with respect to root motion anticipating the later

more frankly harmonic period.

Definition of Terms

Chord

Even though most authorities agree that the music of

the late sixteenth century was conceived on a linear basis,

it is also recognized that composers were demonstrating

careful attention to vertical sonorities as well. Harmony

was determined by the relationship each of the upper voices

18

maintained with the lowest sounding voice, usually the bass.

In accordance with long-standing tradition, the essential

intervals above the lowest sounding voice tended to be con-

sonant intervals, which in the sixteenth century resulted in

the following: perfect unisons, perfect octaves, perfect 18 Bush, 0£. cit., p. 237.

11

19 fifths, major and minor thirds, major and minor sixths.

Analysis shows the great majority of these vertical com-

5 6 binations result in ^ or ^ configurations, complete or

20

implied. For purposes of this study, these vertical

combinations will be called "chords" and their roots will

be identified in accordance with the principles set forth

later in this chapter.

The criteria for determining whether or not a certain

vertical combination is a chord in many cases become quite

subjective. Nevertheless, often the same criteria can be

used for determining chords as are many times used for de-

termining, e.g. intervals, various suspensions, and certain 21

idiomatic devices used during the period under study. Two

very general principles seem to have direct bearing upon the

determination of whether or not a specific vertical combina-

tion can be called a chord are as follows:

1. Agogic accent—a sonority which lasts for a full

beat or more is more often to be heard as an actual chord 19 Scott, op. cit., pp. 43, 71.

20 In addition to the above, the most common vertical

combinations found in Masses of this period are: 8, 8 |, {?, and 6 (idiomatic ^ chord). However, by far the most frequently found interval in this music is the interval of a third. Since the third tends to be so prevalent, the term "tertian" harmony may also be applied here.

21 Cf. Ralph Dowden, "The Harmonic Interval of the Seventh

in the Works of Representative Composers of Italian Madrigals, 1542-1614," unpublished doctoral dissertation, North Texas State University, Denton, Texas, 1976, pp. 6-8.

12

than is one in which the particular vertical combination in

question lasts for only, e.g. a half beat.

2. Metric accent—a vertical combination sounding with

the beat will more often be interpreted by the listener as

being a chord than those combinations which appear off the

22 beat.

Cadence

The term "cadence" as it is used in this paper pertains

only to the penultimate and final chords of a composition.

Masses of the late sixteenth century generally display three

types of cadences:

1. Full cadence (later known as the authentic cadence)—

a progression from a major triad on the fifth degree of a mode

to a major triad built on the final. Both chords are in root

position.

2. Phrygian cadence—a progression consisting of a

penultimate chord which may be in root position or (most often)

in first inversion, with the bass rising the whole step or

descending the half step to the final. The final chord is

again major.

3. Plagal cadence--consisting of a penultimate triad

(sometimes major, sometimes minor, depending upon the mode)

22 It should be noted that no inference is being made to

"strong" or "weak" beats, since the concept of regularly re-curring strong and weak beats did not exist in sacred music of the sixteenth century.

13

built on the note a perfect fourth above the final, progress-

23

ing to a major triad on the final.

Most standard counterpoint texts discuss each of these

cadences in adequate detail. It will not be the purpose of

this paper to elaborate any further on information that is

commonly available. Suffice it to say, the majority of the

cadences found in Masses of the sixteenth century are of the

full or plagal variety.

Root

The term "root" will be identified in accordance with

Jean Philippe Rameau's Theory of Inversion as enunciated in

/ / \

his Traite de 11harmonie reduite a ses principes naturels.

Using Rameau's theory as a basis for definition, the root

may or may not always be the lowest sounding note. However,

again in accordance with Rameau, and with the fact that six-

teenth century harmony was based upon the "tertian" system

(previously mentioned), the root of a chord will always be

the lowest sounding note when the respective members of a

chord are arranged according to the interval of a third apart,

Explanation of Symbols

To facilitate analysis, the chords contained in each

example are identified by Roman numerals. The Roman numerals

are used merely to designate the scale degree upon which each

23 Arthur Tillman Merritt, Sixteenth-Century Polyphony

(Cambridge, Mass., 1939), pp. 92-93.

14

chord is built with respect to the particular scale employed

during the passage under investigation. It should be noted

that the Roman numerals in no way infer chord quality (i.e.

major, minor, diminished) or inversion, although inversion

had to be taken into account in determining the root.

A horizontal line immediately following a Roman numeral

indicates that the harmony was interpreted as extending into

the succeeding sonorities until either a new harmony (chord)

appears, or the conclusion of the passage is reached.

Parentheses surrounding an accidental are used to in-

dicate musica ficta. In those cases where parentheses are

not used in conjunction with an accidental, the assumption

is that the particular accidental was not originally notated

a s musica ficta or at least the editor of the particular

edition did not indicate it as such.

The reason for using parentheses to indicate the musica

ficta, instead of placing the accidentals above the notes in

the usual manner, can be explained by the fact that almost all

of the examples contained in this dissertation represent con-

densations of the scores from which they were copied. As a

consequence, most of the time two or more voices appear on

one staff. The confusion created by placing the musica ficta

above the staff is obvious, particularly in those examples

that involve considerable voice crossing.

CHAPTER II

ANALYSIS OF ROOT MOVEMENT LEADING TO FINAL CADENCES

The hypothesis discussed in Chapter I asserting the be-

lief that chordal progressions probably first developed at

cadences served as the premise for computing the statistical

evidence in this chapter. In order to investigate the degree,

if any, to which root motion was being organized in material

leading to final cadences of Masses, an analysis of root

motion was undertaken for each of the examples contained in

the Appendix. The resultant information was then read into

an IBM 360/50 computer, utilizing PL/I computer language.

The computer attained an accuracy of 99.98 per cent for each

of the tables shown below—an accuracy obviously judged to be

well within the limits of reliability.

In order for the reader to study the computer results

in conjunction with the examples contained in the Appendix,

some clarification regarding the Appendix itself is needed.

A total of 321 chord progressions was read by the computer;

however, the Appendix lists only 318. The reason for this

discrepancy is that certain composers, e.g. Monte and Pales-

trina, utilize identical cadential material for more than

one Mass movement. It is noted that in every case where

the identical material is used, the repetition involves the

next succeeding Mass movement, i.e. Sanctus and Benedictus,

15

16

Gloria and Credo. For purposes of the Appendix, it was con-

sidered redundant to include a musical example that had al-

ready been presented in the preceding movement of the same

Mass.

The examples in the Appendix are grouped under subtitles

identifying progressions of just three and four chords, even

though six chords was the total number analyzed in the ma-

jority of the progressions. Subtitles identifying four chords

were used to facilitate the grouping of such a large number

of musical examples. It was discovered that the largest num-

ber of discernible patterns of root movement was most econom-

ically grouped under the four chord subtitles. The subtitles

identifying just three chords were used only for those examples

in which a commixtio occurred just before the final cadence.^

The following four tables list root motion involving the

final three, four, five, and six chords from cadential pro-

gressions shown in the Appendix (Tables I-IV respectively).

Within each table, root progressions are listed from the

highest to the lowest percentages of occurrence.

None of the tables reflect root motion in terms of

ascending or descending movement. The progression I-V, for

example, does not reveal whether the chord roots move from

I u£ to V or from I down to V. The rationale underlying

"*"See Chapter I, p. 9, for a discussion explaining why cer-tain examples were analyzed with just three chords. The same discussion also explains why each of the tables in the present chapter lists a different total number of progressions.

17

the analysis of each progression is to describe root motion

in terms of scale degree involvement, not ascending or de-

scending movement. Furthermore, the 321 examples analyzed

for this study reveal that 185 cadences are of the full

(authentic) variety and 128 are of the plagal variety. The

Masses from which the 321 examples were selected show a

frequency of occurrence of the full cadence over the plagal

cadence at a ratio of approximately three to two. This

small disparity in favor of the full cadence is not con-

sidered to be significant enough to indicate clearly that

the composers of these particular Masses show a distinct

preference for the full cadence over the plagal cadence.

Consequently, the analysis of root motion by fifth im-

mediately preceding each final cadence will likewise not

be concerned with ascending or descending motion. The same

treatment will be afforded intervals involving seconds and

thirds.

Table I lists progressions beginning with the ante-

penultimate chord of each final cadence. A total of 321

examples was analyzed in the compilation of Table I—

virtually every example utilized in this study.

18

TABLE I

NUMERICAL AND PERCENTAGE FREQUENCIES OF SPECIFIC CADENTIAL PROGRESSIONS

INVOLVING THREE CHORDS

Progression Frequency of Occurrence

Percentage of all Root Progressions

Involving Three Chords

I-V-I 112 34.89

I-IV-I 95 29.60

IV-V-I 55 17.13

VI-IV-I 23 7.17

VI-V-I 10 3.12

V-IV-I 5 1.56

II-V-I 4 1.25

VII/V-V-I 4 1.25

Ii_iv-i 3 .93

II-VII-I 3 .93

I-VII-I 2 .62

VI-VII-I 2 .62

III-IV-I 1 .31

IV-VII-I 1 .31 .

VII-IV-I 1 .31

The progressions I-V-I and I-IV-I form an aggregate total

of 207 occurrences in Table I. The same progression patterns

account for 64.49 per cent of all the root motion shown in

this table. The 321 examples analyzed in the compilation of

19

Table I are grouped into fifteen progression patterns, which

are listed in the first column. The first three patterns

listed in this column account for an overwhelming 81.62 per

cent of the root motion shown in Table I.

Table II lists root progressions involving cadential

progressions of four chords. A total of 313 examples was

analyzed in the compilation of this table, resulting in forty-

progression patterns (column one).

TABLE II

NUMERICAL AND PERCENTAGE FREQUENCIES OF SPECIFIC CADENTIAL PROGRESSIONS

INVOLVING FOUR CHORDS

Progression Frequency of Occurrence

Percentage of all Root Progressions

Involving Four Chords

IV-I-IV-I 63 20.06

V-I-V-I 59 18.79

H I >

H I

H I > 24 7.64

IV-I-V-I 19 6.05

VI-IV-V-I 15 4.78

I-VI-IV-I 14 4.46

I-IV-V-I 13 4.14

VII-I-V-I 12 3.82

III-I-V-I 10 3.18

VII-IV-V-I 10 3.18

II-IV-V-I 8 2.55

20

TABLE II—Continued

Progression Frequency of Occurrence

Percentage of all Root Progressions

Involving Pour Chords

VI-I-IV-I 6 1.91

V-IV-V-I 6 1.91

V-VI-IV-I 5 1.59

IV-VI-IV-I 4 1.27

VI-I-V-I 4 1.27

I-VI-V-I 3 .96

I-II-V-I 3 .96

III-IV-V-I 3 .96

VI-VII/V-V-I 3 .96

IV-II-VII-I 2 .64

II-I-VII-I 2 .64

IV-VI-V-I 2 .64

III-VI-V-I 2 .64

VI-V-IV-I 2 .64

II-I-V-I 2 .64

VII-VI-V-I 2 .64

VII-I-IV-I 2 .64

VII-VI-VII-I 2 .64

I-V-IV-I 1 .32

H I > H 1 H H 1 > H 1 .32

V-II-IV-I 1 .32

21

TABLE II—Continued

Progression Frequency of Occurrence

Percentage of all Root Progressions

Involving Four Chords

II-IV-VII-I 1 .32

VI-II-VII-I 1 .32

I-II-IV-I 1 .32

VI-II-V-I 1 .32

V-VII/V-V-I 1 .32

VII-V-IV-I 1 .32

VI-VII-IV-I 1 .32

IV-V-IV-I 1 .32

Tables I and II show a significant degree of similarity

as evidenced by the fact that the two highest percentages of

both tables involve root motion of I-V-I and I-IV-I. In

addition, the four progression patterns showing the highest

frequencies of occurrence in Table II are once again patterns

utilizing strictly the roots I, IV, and V. These four pat-

terns account for 52.54 per cent of all the root motion listed

in Table II. With the Roman numeral analysis now including

two chord roots preceding the penultimate and final chords of

each cadence, the number of patterns showing percentages of

less than one per cent increases to twenty-four as compared

to only seven in Table I (see column three).

22

It was stated earlier in this chapter that from the

particular Masses utilized in this study, 185 cadences are

of the full variety and 128 are of the plagal variety. The

obvious predominance of root motion by fifth in Table I,

therefore, comes as no surprise since it was known that the

penultimate and final chords were already governed by this

particular root motion. Consequently, it has often been felt

that possibly the most significant observations can be found

in these root progressions involving four or more chords.

Table II continues to show the predominance of the V-I and

IV-I progressions. With Table III, the progressions now in-

volve five chords, utilizing 306 examples. The first column

of Table III lists eighty-nine progression patterns, compared

to forty and fifteen in Tables II and I respectively. It can

be seen that with the inclusion of just one additional chord

in each progression (now totaling five), the number of in-

dividual progression patterns increases significantly.

TABLE III

NUMERICAL AND PERCENTAGE FREQUENCIES OF SPECIFIC CADENTIAL PROGRESSIONS

INVOLVING FIVE CHORDS

Percentage of all Progression Frequency of Root Progressions

Occurrence Involving Five Chords

H 1 H

< 1 H 1 H

< I H

40 12.99

H 1 > 1 H I > I H 35 11.36

23

TABLE III—Continued

Progression Frequency of Occurrence

Percentage of all Root Progressions

Involving Five Chords

VI-IV-I-IV-I 17 5.52

V-I-VI-IV-I 13 4.22

H

> H

H I

> 8 H 12 3.90

IV-V-I-IV-I 10 3.25

IV-V-I-V-I 9 2.92

H 1

> I H

I > I

' H

|

H 7 2.27

< H 1 H

< 1 I

H 1

I

i < I H

7 2.27

V-VI-IV-V-I 6 1.95

VII-I-IV-V-I 6 1.95

VII-III-I-V-I 5 1.62

I-II-IV-V-I 4 1.30

H 1

> 1

H 1

> H

> 4 1.30

V-VII-IV-V-I 4 1.30

VII-1V-L-V-1 3 .97

I-V-IV-V-I 3 .97

III-VII-I-V-I 3 .97

II-VII-I-V-I 3 .97

I-VI-IV-V-I 3 .97

I-VII-IV-V-I 3 .97

VII-VI-IV-V-I 3 .97

IV-VII-I-V-I 3 .97

24

TABLE III—Continued

Progression Frequency of Occurrence

Percentage of all Root Progressions

Involving Five Chords

IV-I-IV-V-I 3 .97

II-IV-I-V-I 3 .97

H 1

> H 1

> H 1

H 3 .97

< 1 H <1

i H 1 < I H 2 .65

IV-VI-I-IV-I 2 .65

III-V-IV-V-I 2 .65

II-VI-IV-V-I 2 .65

II-V-VI-IV-I 2 .65

I-VII-I-V-I 2 .65

V-I-II-V-I 2 .65

H I

> 1 H

> 8 H

1 > 2 .65

I-VI-I-IV-I 2 .65

V-III-IV-V-I 2 .65

I-V-VI-IV-I 2 .65

V-I-IV-V-I 2 .65

III-V-I-V-I 2 .65

II-III-I-V-I 2 .65

VII-IV-I-IV-I 2 .65

IV-VI-I-V-I 2 .65

VI-I-IV-V-I 2 .65

II-VII-I-IV-I 2 .65

25

TABLE III—Continued

Progression Frequency of Occurrence

Percentage of all Root Progressions

Involving Five Chords

IV-II-IV-V-I 2 .65

I-IV-VI-IV-I 2 .65

V-vI-VII/V-V-I 2 .65

II-IV-II-VII-I 1 .32

V-II-I-VII-I 1 .32

H 1 >

H 1 > S

H I

H > 1 .32

I-IV-VI-V-I 1 .32

I-IV-II-IV-I 1 .32

II-V-IV-V-I 1 .32

V-II-IV-V-I 1 .32

II-I-VI-V-I 1 .32

IV-I-VI-IV-I 1 .32

V-VII-I-V-I 1 .32

H i >

H 1 H

H 1 > 1

H 1 .32

VII-III-IV-V-I 1 .32

III-IV-I-IV-I 1 .32

V-III-VI-V-I 1 .32

III-VII-IV-V-I 1 .32

V-III-I-V-I 1 .32

V-VI-V-IV-I 1 .32

VII-IV-VI-IV-I 1 .32

26

TABLE III—Continued

Progression Frequency of Occurrence

Percentage of all Root Progressions

Involving Five Chords

VII-V-I-V-I 1 .32

IV-III-I-V-I 1 .32

V-IV-I-IV-I 1 .32

III-II-I-V-I 1 .32

IV-II-I-V-I 1 .32

I-II-IV-VII-I 1 .32

II-VI-I-IV-I 1 .32

II-VI-II-VII-I 1 .32

II-I-II-IV-I 1 .32

III-VI-II-V-I 1 .32

H H 1 H 1 H H I <5

!

H

1 .32

I-VII-VI-V-I 1 .32

II-VII-VI-V-I 1 .32

II-VII-IV-V-I 1 .32

IV-VI-IV-V-I 1 .32

VII-IV-VI-V-I 1 .32

IV-VII-IV-V-I 1 .32

VII-II-V-VII-I 1 .32

II-VII-VI-VII-I 1 .32

III-IV-II-VII-I 1 .32

III-VII-VI-VII-I 1 .32

27

TABLE III—Continued

Progression Frequency of Occurrence

Percentage of all Root Progressions

Involving Five Chords

VII-VI-I-IV-I 1 .32

III-VI-I-V-I 1 .32

H I

& 1 H

> I H

> 1 .32

IV-V-VII/V-V-I 1 .32

III-VI-VII/V-V-I 1 .32

VII/V-V-I-IV-I 1 .32

VII-V-VI-IV-I 1 .32

VI-VII-V-IV-I 1 .32

VI-IV-VI-IV-I 1 .32

I-VI-VII-IV-I 1 .32

H 1

> I H

1 H

> 1 H

1 .32

V-IV-V-IV-I 1 .32

I-VI-V-IV-I 1 .32

Perhaps the most significant aspect of Table III is the

number of percentages listed in column three that are less

than one per cent. The number of progression patterns which

individually account for less than one per cent of all root

progressions involving five chords now totals eighty-four.

The combined percentage of these eighty-four progression

patterns accounts for only 40.96 per cent of the total root

motion represented in Table III.

28

Percentages of root movement involving six chords are

listed in Table IV. No attempt was made to extend the

chordal analysis of each example past the number of chords

represented in this table. It has been previously mentioned

(Chapter I, p. 8) that as the study progressed, it was dis-

covered that few significant root patterns were apparent

past six chordal combinations, since this number seemed to

represent the point after which no meaningful conclusions

or percentages could be compiled.

TABLE IV

NUMERICAL AND PERCENTAGE FREQUENCIES OF SPECIFIC CADENTIAL PROGRESSIONS

INVOLVING SIX CHORDS

Progression Frequency of Occurrence

Percentage of all Root Progressions

Involving Six Chords

V-I-IV-I-IV-I 25 8.22

IV-I-V-I-V-I 14 4.61

V-I-V-I-V-I 12 3.95

IV-I-IV-I-IV-I 12 3.95

I-VI-IV-I-IV-I 11 3.62

I-V-I-VI-IV-I 9 2.96

H 1

> H 1

H I

> 1 H

1 > 5 1.64

I-IV-V-I-IV-I 5 1.64

IV-VII-III-I-V-I 4 1.32

I-V-VI-IV-V-I 4 1.32

29

TABLE IV—Continued

Progression Frequency of Occurrence

Percentage of all Root Progressions Involving Six Chords

I-VI-IV-I-V-I 4 1.32

VII-I-V-I-IV-I 4 1.32

III-I-V-I-V-I 3 .99

III-VII-I-IV-V-I 3 .99

IV-VI-IV-I-IV-I 3 .99

XV-v-I-VI-IV-I 3 .99

V-IV-V-I-V-I 3 .99

VII-IV-V-I-V-I 3 .99

V-II-V-I-V-I 2 .66

V-VI-IV-I-V-I 2 .66

V-VII-IV-I-V-I 2 .66

VII-I-IV-I-IV-I 2 .66

VI-I-V-IV-V-I 2 .66

VI-II-V-VI-IV-I 2 .66

IV-I-VII-I-V-I 2 .66

VII-I-II-IV-V-I 2 .66

IV-II-V-I-V--I 2 .66

VI-IV-V-I-V-I 2 .66

VII-III-VII-I-V-I 2 .66

V-VI-V-I-V-I 2 .66

I-VII-VI-IV-V-I 2 .66

30

TABLE IV—Continued

Progression

I - V - I - I V - V - I

I - I V - V I I - I - V - I

I I - I - V - I - V - I

V I - I I - V - I - V - I

v i i - I - V - I - V - I

I - V I I - I V - I - I V - I

v - v i - i v - i - i v - i

I V - I I - I V - I I - V I I - I

Frequency of Occurrence

2

2

2

2

2

2

2

1

Percentage of all Root Progressions Involving Six Chords

.66

.66

.66

, 6 6

, 6 6

, 6 6

, 6 6

33

V - V I I - I - I V - V - I 33

I - V - I V - I - V - I ,33

r v - i - v - i - i v - i ,33

v - i v - v i - i - i v - 1 ,33

V I - V - I I - I - V I I - I .33

i v - v i - i - v - i v - i .33

I - I I I - V - I V - V - I .33

I V - I - I V - I I - I V - I .33

V I - I I - V - I V - V - I .33

I I I - I I - V I - I V - V - I .33

I - V - I I - I V - V - I .33

V - I I - I - V I - V - I ,33

I V - V - V I - I V - V - I .33

31

TABLE IV—Continued

Progression Frequency of Occurrence

Percentage of all Root Progressions Involving Six Chords

I-IV-I-VI-IV-I 1 .33

IV-III-VII-I-V-I 1 .33

IV-V-VII-I-V-1 1 .33

II-VI-V-I-V-I 1 .33

I-V-I-II-V-I 1 .33

VI-IV-V-I-IV-I 1 .33

VII-V-I-VI-V-I 1 .33

III-I-V-II-IV-I 1 .33

V-IV-V-I-IV-I 1 .33

III-I-V-IV-V-I 1 .33

II-VII-III-IV-V-I 1 .33

VII-II-VII-I-V-I 1 .33

VI-III-IV-I-IV-I 1 .33

VI-I-VI-I-IV-I 1 .33

IV-V-III-VI-V-I 1 .33

III-V-VII-IV-V-I 1 .33

H > I H I > 1 H H 1 H 1 .33

IV-V-III-IV-V-I 1 .33

III-V-VI-IV-V-I 1 .33

II-VII-I-IV-V-I 1 .33

I-III-VII-IV-V-I 1 .33

32

TABLE IV—Continued

Progression Frequency of Occurrence

Percentage of all Root Progressions Involving Six Chords

IV-VII-IV-I-V-I 1 .33

VII-V-II-I-V-I 1 .33

II-V-VI-V-IV-I 1 .33

II-V-III-IV-V-I 1 .33

III-IV-V-I-IV-I 1 .33

III-I-VI-IV-V-I 1 .33

III-I-II-IV-V-I 1 .33

III-I-VII-IV-V-I 1 .33

V-I-VI-IV-V-I 1 .33

VI-I-V-VI-IV-I 1 .33

VI-VII-IV-VI-IV-I 1 .33

VII-I-V-VI-IV-I 1 .33

V-VII-V-I-V-I 1 .33

V-IV-III-I-V-I 1 .33

I-V-IV-I-IV-I 1 .33

IV-V-I-II-V-I 1 .33

III-VII-III-I-V-I 1 .33

V-III-V-I-V-I 1 .33

IV-II-VII-I-V-I 1 .33

VI-III-II-I-V-I 1 .33

V-II-III-I-V-I 1 .33

33

TABLE IV—Continued

Progression Frequency of Occurrence

Percentage of all Root Progressions Involving Six Chords

I-IV-II-I-V-I 1 .33

VI-I-II-IV-V-I 1 .33

V-IV-I-IV-V-I 1 .33

H 1 > 1 H S > H 1 H > 1 .33

M ! > I H I >

1—1 1 H H 1 > 1 .33

II-I-II-IV-VII-I 1 .33

III-VI-IV-I-IV-I 1 .33

H > H I H I H >

H H 1 H 1 .33

IV-II-VI-II-VII-I 1 .33

VI-II-I-II-IV-I 1 .33

II-I-VII-IV-V-I 1 .33

V-III-VI-II-V-I 1 .33

V-IV-VI-I-V-I 1 .33

I-II-VI-IV-V-I 1 .33

VII-I-VI-IV-V-I 1 .33

VII-I-IV-I-V-I 1 .33

I-V-VII-IV-V-I 1 .33

I-IV-I-IV-V-I 1 .33

H 1 > 1 H H H I H H > H 1 .33

IV-VI-I-IV-V-I 1 .33

II-I-VII-VI-V-I 1 .33

34

TABLE IV—Continued

Progression Frequency of Occurrence

Percentage of all Root Progressions Involving Six Chords

I-V-I-VI-V-I 1 1 .33

I-VII-I-XV-V-I 1 1 .33

V-II-VII-VI-V-I 1 .33

V-II-VII-IV-V-I 1 .33

II-IV-VI-IV-V-I 1 .33

IV-VII-IV-VI-V-I 1 .33

II-IV-VII-IV-V-I | 1 .33

VII-I-VII-IV-V-I I 1 .33

II-VII-VI-IV-V-I 1 1 .33

I-VII-II-I-VII-I 1 .33

VI-II-VII-I-IV-I 1 1 .33

III-II-VII-VI-VII-I 1 1 .33

VI-III-IV-II-VII-I 1 1 .33

IV-III-VII-VI-VII-I 1 1 .33

II-VII-VI-I-IV-I 1 1 .33

I-III-V-I-V-I 1 1 .33

VI-IV-I-IV-V-I 1 1 .33

VI-II-IV-I-V-I 1 1 .33

I-VI-I-IV-V-I 1 1 .33

V-IV-II-IV-V-I 1 1 .33

II-IV-II-IV-V-I 1 1 .33

35

TABLE IV—Continued

Progression Frequency of Occurrence

Percentage of all Root Progressions Involving Six Chords

VII-III-VI-I-V-I 1 .33

VII-IV-VII-I-V-I 1 .33

II-V-VII-IV-V-I 1 .33

IV-V-VII-IV-V-I 1 .33

V~II-VII-I-IV-I 1 .33

H 8 > H 1 H > 1 H I > T H > 1 .33

IV-I-IV-VI-IV-I 1 .33

H > H 1 H 1 > 1 H > I H H 1 .33

I-IV-V-VII/V-V-I 1 .33

VII-V-VI-VII/V-V-I 1 .33

II-V-VI-VII/V-V-I 1 .33

V-III-VI-VII/V-V-I 1 .33

V-VII/V-V-I-IV-I 1 .33

VI-VII-V-VI-IV-I 1 .33

III-VI-VII-V-IV-I 1 .33

V-VI-IV-VI-IV-I 1 .33

I-IV-VI-I-IV-I 1 .33

VI-I-VI-VII-IV-I 1 .33

H 1 > 1 H >

H I > \ H

> 1 .33

H 1 > H > H 1 H 1 > H 1 .33

H I > 1 H I > H 1 H > 1 .33

36

TABLE IV—Continued

Progression Frequency of Occurrence

Percentage of all Root Progressions Involving Six Chords

IV-I-VI-I-V-I

I-II-VII-I-V-I

IV-II-III-I-V-I

1

1

1

33

,33

,33

IV-II-IV-I-V-I 33

VI-I-V-I-IV-I 33

VI-V-IV-V-IV-I 33

III-I-V-I-IV-I 33

I-VI-V-I-V-I

II-IV-V-I-IV-I

,33

33

V-I-VI-I-IV-I 33

VII-VI-IV-I-V-I ,33

VII-III-V-IV-V-I ,33

I-IV-VI-I-V-I ,33

V-I-VI-V-IV-I ,33

V-I-IV-VI-IV-I

VII-IV-V-I-IV-I

,33

33

A total of 302 examples was involved in the compilation

of Table IV. The first column lists progression patterns now

totaling 173. None of the patterns exceeds nine per cent of

the total root movement involving six chords. Regarding the

progression patterns listed in the first column, 161 of these

37

patterns individually account for less than one per cent of

the total root motion. This fact alone supports the judgment

that extending the chordal analysis of each example past six

vertical combinations would not result in any meaningful con-

clusions or percentages.

CHAPTER III

CONCLUSIONS

Summary of the Investigation

The study of vertical combinations in music of the late

sixteenth century merits the careful scrutiny of the musical

theorist. To study this music only from a horizontal or me-

lodic basis is to ignore the fact that careful attention was

being afforded vertical combinations, particularly at cadences,

long before the advent of the seventeenth century. Further-

more, merely recognizing that the music of the sixteenth cen-

tury was for the greatest part conceived within the framework

of the Church modes, does not answer those questions pertain-

ing to pieces which do not fit into the traditional system of

the eight modes.

In seeking the factors most responsible for the gradual

dissolution of the modal system, a very reasonable possibility

exists that the vertical considerations embodied in the final

cadential formulae pointed the way toward the realization of

chord progressions and chord relationships. "Without a doubt,

the largest single factor contributing to standardized ver-

tical combinations is the final cadence.""^ With the final

cadence functioning as the principal point of reference, this

"'"Robert W. Wienpahl, "The Evolutionary Significance of Fifteenth Century Cadential Formulae," Journal of Music Theory, IV (November, 1960), p. 132.

38

39

investigation has sought to determine the degree, if any, to

which root motion was being organized in material leading to

final cadences in Masses.

The procedure utilized thus far has been to analyze the

six vertical sonorities immediately preceding and including

the penultimate and final of each cadence. The roots of each

sonority ("chord") were then identified in accordance with

Jean Philippe Rameau's Theory of Inversion as enunciated in

his Traite/ de l'harmonie reduite a. ses principes naturels

(1722). To facilitate analysis of root motion, these "chords"

were identified by a Roman numeral designating the position

of each chord root in the particular scale employed in the

passage under investigation. All of the chord roots were

then tabulated according to progression patterns containing

three, four, five, and six chords respectively. The fre-

quency of occurrence for each pattern was listed, and finally

a percentage based upon the frequency of occurrence was also

calculated.

Classification of Root Movement

The succeeding and final portion of this paper is one

which is essential to the ultimate purpose of this investi-

gation. That is, it now becomes necessary to determine the

specific types and percentages of root movement that permeate

the progression patterns listed in Chapter II. In order to

classify the data necessary for making such a determination,

some additional discussion regarding root movement is necessary,

40

The following quotation is included in order to ensure clari-

fication of certain terms which will be employed during the

remainder of this study.

Progression of chords, one to another, is always described in terms of root movements, that is, the in-tervallic distance between the roots of the two suc-cessive chords in question, regardless of the actual bass notes (inversions) used. These intervallic dis-tances can only be three: the fifth, the third, and the second. The fourth, the sixth, and the seventh are merely the inversions of these (a root movement C up to G, a fifth, is the same as a root movement C down to G, a fourth), while progression by the same root note or its octave is static.2

Employing the three primary intervallic distances de-

scribed above, root movements hereafter will be classified

according to intervallic distances of fifth, third, and

second. By classifying all root movements according to

fifth, third, and second, the following tabulations result:

TABLE V

PERCENTAGES OF ROOT MOVEMENT INVOLVING PROGRESSIONS OF THREE CHORDS

Intervallic Classification Percentage of All Root of Root Movements Movements Involving

Three Chords

Fifth 81.93

Second 13.55

Third 4.51

Table V shows that in all of the examples containing at

least three chords, root motion by fifth occurs in more than

2Robert W. Ottman, Elementary Harmony, 2nd ed. (Engle-wood Cliffs, New Jersey, 1970), pp. 185-186.

41

eighty per cent of the examples. The percentage differential

between root motion of a fifth compared to root motion of a

second is 68.38 per cent. Root movement by third appears to

be of comparatively little significance based upon the infor-

mation contained in this table. Table VI shows root movement

percentages involving four chords.

TABLE VI

PERCENTAGES OF ROOT MOVEMENT INVOLVING PROGRESSIONS OF FOUR CHORDS

Intervallic classification Percentage of All Root of Root Movements Movements Involving

Four Chords

Fifth 7 5" 3 8

Second 13.81

Third 1 0 , 7 9

Again, as in Table V, root movement by fifth dominates

the percentages. The percentage differential between root

motion of a fifth and root motion of a second now totals

61.57 per cent. Root motion by third has gained 6.28 per

cent compared to the previous table.

42

TABLE VII

PERCENTAGES OF ROOT MOVEMENT INVOLVING PROGRESSIONS OF FIVE CHORDS

Intervallic Classification Percentage of All Root of Root Movements Movements Involving

Five Chords

Fifth 7 0- 2 4

Second 15.96

Third 13.78

Table VII indicates that root motion by second and third

continue to increase slightly, while motion by fifth drops by

5.14 per cent (although still predominant). Table VIII com-

pletes the tabulation with a listing of percentages involving

six chords.

TABLE VIII

PERCENTAGES OF ROOT MOVEMENT INVOLVING PROGRESSIONS OF SIX CHORDS

Intervallic Classification Percentage of All Root of Root Movements Movements Involving

Six Chords

Fifth 68.35

Second 16.94

Third 15.70

Table VIII shows that although the progressions being

analyzed now contain a total of six chords (four chords be—

fore the penultimate and final), root motion by fifth still

accounts for the largest percentage of the root motion listed

in this table. Root motion by third increased very slightly

43

compared to Table VII (1.92 per cent), and root motion by

second increases even less (.98 per cent). The percentage

differential between root motion by fifth and root motion by

second now totals 50.41 per cent.

Final Evaluation

Based upon the tabulations presented in Chapter II, the

following conclusions can be made:

1. In Table I, the progressions I-V-I and I-IV-I appear

to be the only two root progressions receiving high enough

percentages to be regarded as truly significant. These per-

centages, however, are tempered by the fact that common know-

ledge regarding cadences of this period indicates that V I and

IV-i already were considered essential in the majority of the

standardized cadential formulae of the sixteenth century.

Therefore, the progression I-V-I and I-IV-I may be interpreted

as mere repetitions of the standardized cadential formulae.

2. The remaining tables of Chapter II indicate that,

excluding the slight significance placed upon progressions

containing I-V-I and I-IV-I, none of the remaining progressions

receive a high enough percentage to be regarded as significant

in terms of showing discernible patterns of chord sequence.

In fact, with each succeeding table, the number of progressions

each receiving less than one per cent (i.e. just one repeti-

tion) increases to such a degree that it becomes exceedingly

difficult to apply significance to any one progression over

any other progression.

44

The conclusion drawn from the foregoing evidence is

that chord progressions (successions of one chord to another)

in passages leading to final cadences of the late sixteenth

century do not demonstrate any regularly recurring patterns

of root movement (i.e. harmonic sequence).

Based upon the tabulations shown in the present chapter,

the following conclusions can be drawn concerning root move-

ments :

1. Root motion by fifth at no time accounts for less

than 67.35 per cent of the total root movements analyzed

during the course of this investigation. Indeed, the per-

centage differential between root movement by fifth and root

movement by second (the interval receiving the next highest

total percentage) at no time drops below 50.41 per cent. The

conclusion drawn from the foregoing evidence is that root

movement by fifth does indeed account for the majority of the

root motion contained in passages leading to final cadences

of Masses dating from the late sixteenth century. The term

"majority" in fact, can be interpreted as meaning that the

interval of a fifth accounts for at least sixty-five per cent

of the root motion involving cadential passages totaling six

chords, seventy per cent involving five chords, seventy-five

per cent involving four chords, and finally eighty per cent

involving at least three chords in the music examined.

45

2. The percentage differential between root motion by

second and root motion by third decreases as the chord pro-

gressions become longer:

Table V (three chords) = 9.04 per cent

Table VI (four chords) = 3.02 per cent

Table VII (five chords) = 2.18 per cent

Table VIII (six chords) = 1.24 per cent

None of the above differential percentages were judged to be

high enough to merit placing any significance on root motion

by second over root motion by third. The conclusion drawn

from these percentages, in other words, is that no particular

preference for root movement by second or by third can be

shown.

The fact that root motion by fifth accounts for such a

high percentage of the total root motion analyzed in this

investigation warrants consideration by the musical theorist.

It is noted that tertian harmony, during the period 1450-1600,

is described as having "roots of the triads moving preferably

in modal sequence, e.g., I-II, M i l , I-VI, except at cadential

points, where IV-I and V-I are commonly used."3 The fact that

this investigation shows root motion by fifth so clearly per-

meating even those progressions involving as many as six

chords lends weight to the possibility that this music does

indeed demonstrate, through the exploitation of root motion

3"Harmony," Harvard Dictionary of Music, 2nd ed., (Cam-bridge, Mass., 1972).

46

by fifth, precursory evidence of the transition in which chord

progressions governed by modality begin to be governed by a

system of chordal relations based on the attraction of a tonal

center. Two additional evolutionary steps are necessary to

complete this transition:

1. common knowledge regarding music written during the

subsequent "common practice" period (ca. 1600-1900) is that

"root movement down by fifth accounts for a large percentage

and often a majority of the chord progressions in the music

of most composers."4 Therefore, the first step would involve

music characterized by the clear exploitation of the descend-

ing fifth over the ascending fifth.

2. The final step would involve exploiting the descend-

ing fifth throughout the entire composition, rather than

limiting root motion by descending fifth to passages leading

to final cadences.

Areas for Further Study

Few investigations are all—inclusive; certainly the pre

sent investigation cannot be counted as such. Several areas

relating to the present study are in need of further investi-

gation before precise documentation of late sixteenth-century

root motion can be formulated.

One particular study would involve investigating the ex-

tent to which the individual modes reflect precursory evidence

4Ottman, op. cit., p. 186.

47

of functional harmony in relation to root motion. Can it be

said that root motion by fifth permeates the Dorian mode more

than, e.g., Lydian or Mixolydian, in the late sixteenth cen-

tury?

Another area of investigation paralleling the present

study would be to determine if similar percentages of root

movement (i.e. percentages similar to those contained in

this paper) can be found in passages preceding intermediate

cadences as well as final cadences of Masses from this same

period.

The individual Mass movements could be compared to de-

termine if any one particular movement, e.g., Kyrie, Sanctus

(possibly due to text considerations) received treatment

different from the other movements, again with regard to root

motion.

Finally, statistics relating to each individual composer

are needed to ascertain which composer(s) shows the greatest

propensity for utilizing root motion by fifth, and in par-

ticular, root motion by descending fifth.

appendix

TABLE OF CONTENTS

Cadential Progressions Page

49

IV-I 1 3 5

211 VII-I

48

PROGRESSIONS CONCLUDING WITH V - I

V - I - V - I

Ex. 1—Handl; Missa super Elisabeth Zachariae,

Benedictus.

~^h4-" '<< -i xsol,...1 o

Zjti

^ p j> . c H

nzjf ; '""" r £ r —

ZS IE z

Ex 2—Handl: Miss3' super Sancta Maria, Benedictus.

Q1 ** "] ji

Y f- f f

X

49

50

Ex 3,—-Kerle: Missa De beata virqine, Sanctus.

d l — - i - J - 3 = l = t nKni.H" / • 1 n - r n " ' ! "

^ 1 " 1 .I hi ft* 1/ Win mi 11 -n- W w w 1 ir LwlriUni www ' f j " " ' • •" >*

'J { » 1 1 "r r 1" t r f "

J (XL_

: c H9He(—

JL M X X X

Ex. 4—Kerle: Missa De beata virgine, Agnus Dei.

& X E

3Z -JL » TT T§f~

£ £ HZ zc 9E

"O""

^ ZZZ-2 ±

ZE 3L

JEE

HI I Z X

51

Ex 5—Kerle: Missa lauda Sion salvatorem, Credo.

j-iv——r-~t~""1'"TTl v' o> Z. — • s — ^

i f — -f T

—.; — = J ; J.::::

M j - J —

pi-—— Q—

PI

Lfil"1 1 .:

+•>' 1 r 0 ~n - f l

m u X '

Ex 6 Kerle: Missa resurrexit pastor bonus, Agnus Dei.

Xjca: IE

-p-

4i fC

; § s N — r f :

£ -&z :p=p=jr

4£+ 7%m. i b i

3Z |§

? P IC ——^z^zzjgczrm. "-r .i2r_: rc:z fcin

3zr j? t x z-X

52

Ex. 7—Lassus: Missa super La la maistre Pierre, Agnus Dei.

I~£ -S-

lT p ~ " T — p n f

i jJ

$ = = 3 : s § p

J

iEj-

^ - 4 - I

j r x x

Ex. 8—Lassus: Missa super Frere Thibault, Gloria,

I U 4V ZLkLtt

~&eL-A4XJ I 35 £

S:

r r r r ^ 11 J

?=£ i P p i y

^ J j i

1 1

U 4 4

£

s

J i

X H — X I - X I

Ex. 9—Lassus; Missa super Le Berger et la Bergere, Sanctus.

H = = ^ i £ = Z ^ -0 . f ^ 1

0 — . . ~ ~ ESfJafQi TT =SP W~ :^ ~ TZ|"

=t # z M : A 3J trnrziz#:

3E £zi± HZ3Z

X 2 W % ~Z3&

flteolkn or» 0' D©rj«n on

53

Ex. 10—Lassus: Missa super Le Berger et la Bergere, Agnus Dei. >

i 5E t - — - n •m E

f - # 1

7 f F T

rk

P

3± 4 ^ •e-iO i >it p a m z:

HI X X

Ex. 11—Lassus: Missa super Triste depart, Sanctus.

—pt» ) , —)0f" - — O

f)—0'=, 9 — « F f „

;?L -fiL -QL 0 t€Yrr-7tr4 " Q.' "" . n &G

_4_|—;— -or; q*/•*. .

« • 0

W

[I

A — " i — •~P^1 ° i -i

llr-

M x r

1

• X AtoTTori or) Dot!an ori "G°

54

Ex. 12—-Lassus: Missa super Jesus ist ein susser Nam1, Kyrie.

jm,,. •f*.

3Z y

-e-

2 .if. * ~f=L

2E HZ 2 13p

_a -a

1 m

jcL kr- £ £ ~e~

HI z

Ex. 13—Merulo: Missa Cara la vita mia, Kyrie.

i 5 0

e

n r

55

Ex, 14—Merulo;

1 hJ " cJ"1"1 1 • -y— mmmtmmrtwn: uh m m — n , . i mum »• mwtmtiminmmuu r j

Missa Cara la vita mia, Gloria.

-k&-

ff=F yrr r ~ T T "Erir * C/ ZT

i i -# -Mb. jw^fcn-H~n!

i • € * g=s r sfc

tit -e~

V TT # ~0~ c/

o 3H

J——-J ' JBL mW- - i

E X f

Ex. 15—Merulo: Missa Cara la vita mia, Credo.

• V — 6 1 ,—f —f^-j— I — I,I r '1 ii"'IN l l y * < | i l " -I

j j "H" : ~~tt."

; ^ " U $ 7 »* p"

——J-J,—Jf3 1-^ — r J rfb'i' P s - — £ =

J; " " V gP] 1 * ..'

»o™pZ|ZL|» —I

JL 1 J pjg£ .*! , @i ;

/3 J .

ij J

t r f ,/ZZ-*^ j -

-jp-

-4frrzifc-J—:—' £ . / H . . . . : . flfo.

... „ * " " © — — '

k..,:.z;z zizp

3T X

Ex. 15—Continued

56

h-4-

m B m taryw

T T

A 4

u: vy

-e-

S E E y

f f -f

1J3 ^ €tr

t =£2^ ±±zgz "T#~

X

Ex. 16—Merulo: Missa Cara la vita mia, Sanctus.

Si l~r,'„,, —|f S £ $

3 9 = 5

§ 3 = 3 0 ~0 r ~ r

f = ^

J A -if J? jRi

T = 3 ^

i J

-e-

f £

a m i

TT ;-j-—^ <h=--J.-J.~J-A

1 = a :±zi

1

JH&*.

-t—-p^ iLi_ .J..

f gj-ji Jl A

£ x H X

Ex. 16—Continued

57

r\

§ ~r—-=\ 8E

~c7 r j- - & - 3nz trr

j> 1 p"

5 r if? r -*!• •i'J J

T T "XT

»#i—Hr = 2

f — r z -e-o< X

58

Ex. 17—Merulo: Missa Beriedicta es coelorum Reqina, Kyrie.

ft 1 ,H=p ... i i j | J l _ | ,i n t i • In? 4

• r t t t r

: f #jf T J —

. . J j J ^f3 ji'

J— ; ^ , - " ' 1 """ ""J »• ^

• 2 X

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T ? " ^ *

= f = ^

cJ

. _ c J .J— -^r r-"2—

o

- ii- —(-

— X w X

Ex. 18—Merulo; Missa Benedicta es coelorum Regina, Gloria.

59

" ' J ' Jr-. m a

| j* -TT" -XT

3 —r 5

3E

J J ,1 J r - b D j J O IXEZ

r r

X Z X X - - X

c/

X

Ex. 19—-Merulo: Missa Benedicta es coelorum Regina, Credo.

F&H i J- J \ q q •-i J j » Q o

f *

~ h

L . - , J ( r i u - * * V ,

T f y j >

•—(• — - t—p-jf-

——"-<i— — f J -

(s: m , , m —

— 6 :-— o c/

< 2 l _ f

F t h

— J 1 J « « *

- ^ 3 3 J J J 3 . +*• ~

or:

i — — — i

^ r £ r L

1 j . J

_ j a l _ Q ; — _ —

- •

& —

O

- a

M 4 ^ — 2 — — ; — - — —

£ I

' :f===±=^fjj * / L - a — - » J

o >

6 0

E x . 2 0 — M e r u l o : M i s s a S u s a n n e u n g i o u r , B e n e d i c t u s .

fr - f f f J J

_ j , » L . J L J m - 6 h -

* j p p to f

J-4-& j « ! • J * 3 3 E

X 2 L I Z X

o /

X

E x . 2 1 — M e r u l o : M i s s a O n c g u e s a m o u r , A g n u s D e i .

£ 3 2 # — r

O '

I T £ f f f - e -

o /

P ' r r j

- e -

i

/ " " V

• # " "

5 $

f ~ ~ w I J*

I T

n x - X I x

- e —

• z

61

Ex. 22—Monte: Missa Ad te levavi oculos meos, Gloria.

Iffi}:-1.. J.'—j-;

p r r r r

L l ' - r i

P •"£:

o — q U

J t i

| ^ f 1»• *'p =£-;

H,

:

CL^

.— -f~

cJcj

JZ I X X x

Ex. 23—Monte: Missa Ad te levavi oculos meos, Sanctus,

ft Sstzzzn:

h 3!

T > f

& 32 -Si-

+ - J - + ~g~

_2_

. TV T *0*

Z X 2>

62

Ex. 24—Monte: Missa Ad te' levavi oculos imeos, Benedictus.

% m, : y , -#rr 1 f £ f

4ry m •— —*

r r f 1

% = = , — i i — .

l\J : ^ : • • •

— | J J- Ft

u

! J J J -• "•/"q?."": , TftJFjp * « <j

a • E f

E I Z I Z

Ex. 25—-Monte: Missa Emitte Pontine, Gloria.

ffil' J- , ^ b = 4 :

—^r* i J—i

— & — f j -

- w i j i n j , — - i

—g=j.—,—

" " " ' r a

M p\f.i

» ri: — J -

^

— a . — — ; — _

lij ;

- i 4 - 4

z IX

63

Ex. 26—Monte: Missa Emitte Domine, Sanctus and Benedictus.

3 -W--e-

F T f r t j f

3 at 3E

n- i,1 f 1 £ at

2 f "T"

Z JZ Z I X

Ex. 27—Monte: Missa Si ambulavero, Gloria.

II $ 3

5t " © • n -m-r ^ t u l UT tff ijfCj'

j- .*• J1 M: J *>f 3£ W BE r

j J- /

i

| ® — ^ j r

HI I X X r

x-

64

Ex. 28—Monte: M i s s a g j ambulavero , S a n c t u s and B e n e d i c t u s .

| | H w r ° |

P ±=s p = g f

* _ .

-J—®-—J-4=J-

r IZ E I S '

Ex. 29—Monte: M i s s a S i ambulavero , Agnus D e i .

£ r - y ' f r p flk

/I: r fi 5 3

J , « L « i

£ «e~

T m X X Z

65

Ex. 30;--Monte: Missa Deus Deus metis, Gloria.

tr

= J - » i p3 $ £ ipi * F

"tSHT-4 J J.

1 - 0

""M mfc~ 2E

IE I Z I X i=r

Ex. 31--Monte: Mi ssa Deus Deus meus, Sanctus.

" J J ? J - r j j - . L j

J? -&•

• #

5 c = a ZE

jJ -6 1?

-J-

-S-i w S X M

I — - . . - . . j s

ff x 2 r z i

66

Ex. 32—-Monte: M i s s a Deus Deus m e u s , B e n e d i c t u s .

f = f

~*L T

#!—J—J £

=£ 1

TT J-U

jC

ZZZ

i?— r- E I X

-B-

4=3-

3

5

Ex. 3 3 — M o n t e : M i s s a s i n e n o m i n e , K y r i e .

K I

Ex. 34—Monte: Missa sine nominef Credo.

67

f ) ,i .i Y ' c i J J- -e- 1 r f Jt J§L

# • 22 -P-• e - :j£

H E £ X X

Ex. 35—Monte; Missa sine nomine, Sanctus and Benedictus.

m M -32

tf" £=ga»p '-''-ft -o" r T T

JL JeL 5 ^

jgfc ZE 5t

*-*C"

% I £ X X o X

Ex. 36—Monte: Missa sine nomine, Agnus Dei.

ji s "5"

- »

r p = | t ^ i = p ~tr

; J 1 J p~r r TT

¥=

JZ' H-«w)W i(#n" H"" '

2 I . X

68

E x . 3 7 — M o n t e ; M i s s a s u p e r R e y l i e n s 'yeics m o y , G l o r i a .

•¥- = ^ f -W* z r

3 j £

Ov

= r r

,d ' •&.

p p " TT

| J J -j r

M TC- TT

-**r g V 1 - 1 ^ a

ffixolydt'a.n Dorian

E x . 3 8 — M o n t e : M i s s a s u p e r R e y i e n s v e r s m o y , A g n u s D e i ,

r\ "v^ $ FT

& ^ = f = f = - i 3 f j f . XJ

J2L

-tr

JX jA g L = = J -0 3Z. H E - © -

i-f4- • C / I IZ.X z- X 2 *

E x . 3 9 — - M o n t e : M i s s a Q u a t e r n i s v o c i b u s , G l o r i a .

A. ; j = ^ ~ ^ f c ^ = = g : — C T - = - _ = h : jap

t t - p -vj

!7 * v ZL - © • ZE -€>-M =

H H i

I I I

69

Ex. 40—Monte: Missa Quaternis vocibus, Sanctus.

X-41- 3ZZ_ZJI — Ur, . ——e—— —

i =J2=

1: J ,p„;

— i~ Hen— ; , .

c j i "

32 I Z X X X

Ex. 41—Monte: Missa Qugmodo di lexi , Kyrie.

y — & §§ :ra

'/.t t .% ' ..

Ar rW

S t "yiz «±

m /-V-

3 t ..JML -J" LI I E

- © -

Z a- •T X £• X

70

Ex. 42—Monte: Missa Quaternis yocibtis, Agnus Dei.

£ A ^ " j

m -pt~ ZE

g 2 ^ -N-

tn £ ZE - e - TC - © -

X M r x

r 'S' I

Ex. 43—Monte: Missa Quomodo dilexi, Gloria.

—•—r) ^—7I E{ &• £

: f c ?J. » — 1 |j—--

<jt-

K X

"TT

q —

_ _ | 3 , , , | J , Q -

Het 1

£ X z

nL d £

zjt

Jd =3£

l "

71

Ex. 44 —Monte: Missa Quomodo dilexi, Credo.

O — J — J -— s EI mn.Q.m t r

fc=g: 3 Zh! 33*** 1— —•— r y H f r P

tr ir

¥ j- ol ^ - # -

<1 J- J J 5£ "tfyfr ZE

m • x x

Ex. 45--Monte: Missa Quomodo dilexi, Sanctus.

ftp- •# p p JH

i J 3 ±

7?Tt 31 5-pr J

n i &1— -& -e-~ w ~ ~ — "

X X X

t c

X X

72

Ex. 46—-Monte: Missa Ouomodo dilexi, Agnus Dei,

IV f y f

5

^3232

^ J J-Y ~ f f - — = r

•iglr #.fi[

1

m MHHM 1^.

JL

J - © -

:£t

r r z x x

-**-3t

3 # t

Ex. 47—Palestrina: Missa ECce sacerdos magnus, Sanctus.

»L £

_cL

f i "M0T'm

"5"

jgn>

•*'' J1

A- J.—"

x x X £

"3nl-

73

Ex. 48--Palestrina: Missa Papae Marcelli, Sanctus,

zz

$ tr

! •

2 £=2Sf r f >-fiH •• — Lkl,

A - 4 - xi A -F

2E Zi;

H H-

2C ZEE

Ex. 49—Palestrina: Missa Jesu, nostra Agnus Dei I.

xo,

irwrr

~>U 01 1 1 ' w

d p

ipp-. J-

jk TffC

E X Z I T~ I - I

Ex. 50—Palestrina: Missa Regina coeli, Gloria

§ 5

TOE

$=?

KM- r r

jL iL

3E

r 1®-

u:

s

-e-

•&&-

hi i x I r x

74

Ex. 51—Victoria: Missa Ave, maris Stella . . Kyrie.

rPhr-T ^ T ~ [ J: :"i •" i

ir r r rCf P 1

<=>: —A. \ — & ® n .:

jo( =33=z::

^ L^-4-

yy X ]Z .>& *m ' mm*•—»

X

u

' Y. X

75

Ex. 52—Victoria: Missa iVyef iitaris stella . . ., Benedictus.

-<f-j J

= ? ? * - r-e^-—: d -p, ,#|», ^ |* i l # f = *

J J =r= J. J

bo , 1 1 J J J s : ••„'• ' -W -jot

= 8 =

TSL X T~ sl x

Ex. 53—Victoria: Missa Quam pulchri suntr Credo.

Pv.

5 It

5 ) ~*"fj

f = p 3E r IT -e-

A iP' 4 mL 2T O: i

/. b " -j9f-

zz 32 J? s : •pp x x

z . nt x x

Ex. 54—Victoria: Missa 0 magnum mysterium, Kyrie.

t~"G" 3

•3"* #-J Hr - © -s 3Z

E :-S: X £ X

76

Ex. 55—'Victoria: Missa de Beata Mafia, Kyrie.

.. y..A" yl? . )0l. • .. , .X • hfiF —3 •y . ; ft f [' P—f-

!U| >~"~n. ° 1

'"•"P p

,^-vmr-Ti —...

er

^ #P"I

—~~~

h-Q—I PC •

===»PJ- . fl\M' " ' n

ffM' 0—

r r r

j£L" 0 •

=f=f=f

h3f_—1

• ' :0 • ; . •---•p-**"** ~ — # — _

ft • •, ;

X M Z X z

Ex. 56—'Victoria: Missa de Beata Maria, Sanctus.

i S: zfltzzzzr—~

f p fj -e-=35=

ZE ~ © ~ -et n PL

ZE 33= 3E 13 - © -

ijE 2Z =8=

5 -e-znr

ZE S

1 I I- r z

77

Ex. 57—Victoria: Missa de Beata Maria, Agnus Dei,

B K , & P _ z j J 7t

(•> : 1 M

»(i f f [L r

! . . O . . • ^ !

-4 • -

r r r r r •

irt ~-ts.'nb~t ,: g-":- j q jii _ 0L-—;

c —

fjiL|L. , p d .

Pi L

„ JrL_._ _

B — — - •,

Q . . , , ,

b ^ _ 1 —

JZ J L « ! _ _ _ _ _ _ ^

— . — : — M 4 -

r p f - ^ — l

/ : " — :

— H —j-

+ 1 4 — ^ — i —let- — . i,i — * — — , — . — —

\i _ -Pift 1 -/b Jrt —

X

X

78

Ex. 58—Victoria: Missa pro Defunctis, Benedictus.

$

I '.J' O

1 — r

J- J J Jr

IE.

m :#rf

3d.,,...,,.ol,

A IPC

m n. 3z: z 'x:

IV - I - V - I

Ex. 59—Handl: Missa super Transeunte Domine, Eyrie,

•/ 1 r t -^p-~

+TT. r ~7T "T" ™"

f-e——• — — i k ^ = r — — - : :

Tt?J ?P ''"""/J-"-*—..

££. J A Iizin±====E3

J i 1 *—^ ^ — ~ - Q nrJ —

m w m

- M !L

I 3T- . - X ...- .

79

Ex. 60—Kerle: Missa De beata virgineCredo,

A i - p a $ :

•jprr E S

ss HE d@fc

3 $ £

X 23T M 31

Ex. 61—Lassus; Missa super Le Gloria.

Berger et la Bergere,

ijf %-zti„-'.."...'' _#j1 J| c?f -Jl 4 - — - e t j---trJh V -- • « y

- f f j

tit ~ .J

p f f f - w f J w h

A—d—o . ! *•% .

1

tJq -/ h H-' - J — — —_r, .

JZ' JZS

^ r r ™ f o — —

m r - x .

: . f ;:::

X

80

Ex. 62—Merulo: Missa Susanne tin giour, Sanctus

r \

i ~jH Lytitan on Dorian on %'

Ex. 63•—Merulo: Missa Susanne Tin giour, Agnus Dei

EI

w

r s i

81

Ex. 64 —Merulo: Missa Oncques amour, Sanetus .

f

TV

SE at f=F =F=

o>

3

o IZJ—I —1

BE lz T I. 1

T V IV T x z

j T -

i?

Ex. 65—Monte: Missa Quatern i s v o c i b u s , B e n e d i c t u s .

»#• j = £

jCL. -|5>~ -e~

l H ZE

3E ZE -e?

X H u y

3E

I . z

~er

X

82

Ex. 66—Palestrina: Missa Assumpta est Maria, Kyrie.

i p J J J £ z z i i ^

£ £ T

f & J*

i J J A rrr

J

f i f

1-EC

f J

4 fJ 1111 111 '"> 'MM'"1

j i , , , ! . , , , f l r , £ h i e r-

Ex. 67-—Palestxina:\>Mls;savA's's!uWptav "e's;t'';Ma'r'iar Benedictus.

t i

5 ^

fe 3 £ H#-

T

J- -J-*-"Ti " " MT

7 !

J Jl

F f r

J. _oL

TT

=4 ?e

M. X 1£ X 'X

83

Ex. 68—Palestrina: Missa Assumpta est Maria/ Agnus Dei,

fVT— r> #-a*~#u~rf - f e -

Is-#- ZE

3 • # i j i g i =&

l '

-•—J—

r f f > r

iJZa! I .1 J HE TTT ^ttpZjC

raw TT -e-X

&

CD e-5

I zn 3 1

X

H IT X

Ex. 69—Palestrina: Missa Ecce ego Joannes, Kyrie,

84

* J d $ -6- -e-1

¥ r

f " - ^ L j U t r T JLS^ * T? n r

ir r

" 1 O

E r r - i f r

4-A

6r*- £ - © -

EL JZ 1 - X X

Ex. 70—Palestrina: Missa Ecce ego Joannes, Benedictus.

k 3 ^ p " > -& ^ p ± ^ j E f ~ F

IE ±

1 Y i j[ J i -J J-

£ X T 12 r z r

Ex. 71-—Palestra and Credo.

J .

na: Missa Ecce

,i

! ego Joannes

—© : —

8

, Gloria

Q M f £=—»

fib •sn.J T~~—

f f h — T f

— J= fsQ/fcL.—-—f * V 9

J- J* J «N£Y M 1 1 '•••"• ' flf*"' • 0—

" f t

—J——J-jrit

b —jiu^

.Q i J J5 u *

— ' '

lA'l f ' =Ft -fry1" :* 1 j -j—o :— i h e : r

& ¥

ZEE

JKL

X

Ex. 7 2 — P a l e s t ] Agnus D e i I I .

\ h ~ ^ J . h

r i n a : M i s s a Ecc

. j J

:e ego' J o a n n e s ,

C ^ r — 4

8

{-©_ — — ( ^ — 1

p . 1 'rlj,' 1

-L— |>- pS>. J

^ * 7 ^ J

t t f r

J 7 n i ^

y

# » Q d,.,,,:

r

icy.f fl' } * 0 \

J . 1 1

• p f — 1

• J v j . ; ^ 4 t h S - M h _©_ j <f f 1 b 1

' J r . r ' •V ••• U

JL H -

m

m

ZEE

87

Ex. 73—Palestrina: Missa Regina coeii, Benedictus,

TO~;i1 - f ^ Z I

r f f

l|A3 J 1 r-H

~r- ,, J1-*-

r f

. . J * *

= f = 4

* — « — - J — 1

i J>J <*r-4 ~ l 7 i t ~ f — f - p = i

«[ :*-*

^ ,1 .

- J — p —

- P — 4

= # - 4 -

E 2 JT X 2-

Ex. 74—Victoria: Missa Siini'le est regnum coelorum, Credo.

i d ' ' • • — 8£ 3 dtiLJaa TT

T ff J

i L U © -

s jE

M X m x r x

8 8

E x . 7 5 — V i c t o r i a ; M i s s a p r o D e f u n c t i s , R e s p o n s o r i u m .

£ 3 E 1

w 3 T £ £ e -

^ i ^ j J - 8 -

$ = P f s 3 t

Z E 3 t € * - > - 0 - e - d g f c

3 £ . H i E X

E x . 7 6 — V i c t o r i a : H i s s a p r o D e f u n c t i s , G r a d u a l e .

- f — J J L - - —

— } $

fcri + S . / L X - 4 - ULfL.

- He)--0

— s I L ,

- d _ j _

_T / "v . , . „ .

f - g — — & — <

- A — j l ^ L a .

- T r t - - -

— t f T . . .

M

H

; W ' .Yi jijiinniiTuuxuiira. ,MI.I.JIL. IW.IL.

K M

H

• H

89

VI - IV - V - I

Ex. 77 —Kerle: Missa Regina coeli, Agnus Dei.

-6-

p V f

-fj J cJ nL-r=saJ

m ZE

9- TEST Tn

#i—e- •W Y

3Z

k x s s: E-

T t

X

Ex. 78—Kerle: Missa Regina coeli, Gloria.

3J-32~—

J J q! ^

iCZZSE

n : p

i t sc

=££

-|s(-

tot

ffl n m&z x

Ex. 79—Lassus: Missa super Frere Thibault, Credo,

2Z ? rf

-0- 2KZ £ 1®?-

Tt"

- © -

IE

Hl z 32 X -

~§~nT uy -

= 4

90

Ex. 8Q*-«-Lassu.s: Missa super Ecce Maria , Kyr ie .

iz± TF T

M <0

5 HE

J J 3L £ EE

c/ X . j j . m u x

Ex. 81'--Lassus: Missa S e s q u i a l t e r a , Credo.

1 I H 2 1

91

Ex. 82^-Lassus: Missa super Je suis desheritee, Kyrie,

" J J-J-J vi"88^ •B—-a -at r~x—

3E i - « •

£ 3E22 3

J -e-

~P~ -e- raor"

X 01 EI H X

Ex. 83—Lassus: Missa super Je suis desheritee, Gloria.

q! tJ • J

5E 3T=i:

•j ¥ f = f

F

a

Z X ex isr: x

' * * * * *

1 r

Ex. 84—Lassus: Missa super Frere Thibault, Kyrie,

5 ® 3 r 7 f jf

sc i=J: 3 2£

f'f f~ ' f ^ | r §

W ZME-Z- z

92

Ex . 85—jVlerulo; M i s s a B e n e d i c t a e s c o e l o r u m R e g i n a , Agnus D e i .

*=t=* I E = 5

t r t f f t IT

£ HZ

^ 7 TF

m j j

""*"" n

r c r r

o . JSZ

- e -v-/

r T • -VT W T -

Ex. 8 6 — P a l e s t r i n a : M i s s a R e g i n a c o e l i , Agnus D e i I ,

[• P~ i i — ^ ^ i f

f = F F "f • Cj* f s

' "i""" Jfr B E S i !

g j 4 3T -00-E p p i :

; t s g z HE

r X H 2 1 X

93

Eyrie. Ex. 87—Victoria: Hissa Simile est regnum coelorum,

I J . j m 2^ P o B . : « * «' O

r I f f f

fl ^ fl ^ I j J J

* s "V w • © -

Tfitf m x JL m u x •3-

Ex. 88—Victoria: Missa Simile est regnum coelorum, Gloria.

- i - J -& 3 5 ZZL m T 4tn £ F = T f f "

3C©:

P f f r r

-- •* -J J 3*

2H 2i vjz X

Ex. 89—Victoria: Missa 0 quam gloriosum, Sanctus.

~i—pt JZ. 7t S t p P f TV W

-yt 1 -4-e-r> & zh - f t "

JL n YL M T

94

Ex. 90—Victoria: Missa Simile est regrium coelorum, Agnus Dei I et II.

j?*!- p ° d ^

^ = ? t " — i — i r

p — 0 #<:) •••

• t f •'

—je( — U

J J J J,

^ 4- , . C5_. 0 1

-3 -el ^

-j..... J.—e~ —

• W ' ' M '•

i x j l m i :

Ex. 91—Victoria: Missa O magnum mysterium, Sanctus.

-e-s 2ZZZEE

p I [

J ,

^SL jet

j£L-

5 0 -3-

JSE o o ±==®z=± • " f r -

ill ( # * m M M X J

*"G" in alto is interpreted as a passing tone.

95

Ex. 92—Victoria: Missa pro Defunctis, Agnus Dei.

3 & £ ¥ zr «—6-tr

-©-

r it IT

M M ME

I - xv - V - I

Ex. 93—-Handl: Missa super Adesto dolori aeo, Benedictus.

b ^ 5 p/ ^LLr^zzz3a ccz ~d

c r1 ' " ' J ,J "' 1 " " 1 • 'LJI • —

| -" ja

a i U " . o 1

• j;—l Jpj j: fj

f T r P =1 — 4

I 2D I M S X

96

Ex, 94—Lassus: Missa super Frere Thibault, Sanctus.

till J I ("fr

m {>bF .'O-! f

0 r 4 ^ i i f

c/

£ -e-X H M I & X

Ex. 95—Lassus; Missa super Le Berger et la Bergere, Kyrie.

1 '1 L — LI I | n = j = ^ : — Jrc.* rtTjll

"Vk f t P-'f 'P it"l i

P 1 w

, . . f) ^

•• CT": — — -

H

±£ii4 1 j f d &

d' j A J . . - A l <m—~jr gut- -<#- - f i - ^ , . . - ,, ...

_u p _ - J

f1 id J °0 = j

M '

eli-

• / b i r-f- 1

m M [ \ • f*•' • u • • '

I l l X

97

Ex. 96-~Merulo: Missa Susanne tin giour, Kyrie,

i

r n r

Ex. 97—Merulo: Missa Susanne un giour, Gloria.

A 1

£ ¥~r&

tr T aft

te r 4 ^ i ±± 0

kfjz zee 3E 3L zc

T ~ i f ]r

m r i r —

jp in

21

vJ

X

98

Ex. 98—Monte: Missa Ad t e levavi octtlos roecs , Kyrie,

$ w -I 3 f p — ^ f r r r 32

trr T

~©l f?g~ s

I J J- ft ll ~ — ~ ^ «f<l m £ *

z x r x f===F J£ X

Ex. 99—Monte: Missa super Reviens vers moy. Credo.

Jt. /i "

tpZZST 3 JET: -e- 3tg:

-)sf-

Tfrf f f © TT

Hsf-$ 3: •J X y~. Z X

j-0-JE

3T Z'

99

Ex. 100—Monte: Missa super Reviens vers moy, Benedictus.

iili . i— !—f__f ?~~I U-'< ' O

"vj/1' £ "17 p """"

•q-/r - 0 —- .

• a 1 «j r# i u' -p

_Ji_ -J-rr- ;—

u o

1 / Mr — i

2

M • -

J? X — -

^ x —

' r •' c* © a

'• X •=•. •

*"E" in soprano is interpreted as a passing tone.

Ex. 101—Victoria: Missa Simile est regnum coelorum, Sanctus.

BE fay B: n

*&•

i -rU„ a:

f . oJ n 1 n-Z. -e-

Z 2E

f ~ Tr n

x * iz . x-

=£F

X- JIT

*The whole-note dissonance, "A" (alto) against "G" (bass), is considered irregular in this style.

100

Ex. 102—Victoria: Missa Quam pulchri sunt, Sanctus.

5

T p ™ Z L _ _ p .

M

J£TL. ^ J J 0i

o M' ~ fTT^ 2L

3 £

i

J£ "3L X JZ X

Ex. 103—Victoria: Missa O quam gloriosum, Kyrie.

tr-zt

XL

JL :JZ A

M 1 3Z

HE j •D J -9~

HE • - © - • IT HZ

W "

32i I is: z

*The progression could read: II-IV-V-I. However, the harmonic rhythm of the example supports the analysis whereby "G,r (soprano) and "B" (tenor) become accented and unaccented passing tones respectively.

1 0 1

E x . 1 0 4 - ' - V i c t o r i a : M i s s a d e B e a t a M a r i a , G l o r i a .

I P . • • _ = l

t f r t t ' t < - " 1

J T T - p - p

^ —

y u . ; H B H ^

i M t z j n k . .•

j d .C.

f M , —

; < M ' j j -

v (j, i r r | ^ = f - -

m e x M x I

E x . 1 0 5 — V i c t o r i a : M i s s a p r o D e f u n c t i s , O f f e r t o r i u m .

(J Cf'

E - , i

JL f = f - 9 -

* g n

r - e -

± z x c o -7 j——-f ip~

IX 19f-

HBHah

x n x J F x

102

Ex. 106—Handl: Missa super Benedictus.

VII - I - V - I

i la fenestra,

£=t£=5=

ttf 23=5: 4—J-3 3 T Z

i J ^ j"' "p'

J J

p r f zn mm 1 2

Ex. 107'—Kerle: Missa Ut re mi fa sol la. Credo,

— + — izx. ,:J: -bi-rT —'« 7T

— p — ^ • ... p j® -p-M&" #rr""" G 1 ""

- 0' :

~d J J J t a ^ - — f r — f —

/T\ --0—-—-—"OT ' """""

——£——4——1 • &

M M M I • X X

Ex. 108—Kerle: Missa Ut re mi fa sol la, Sanctus,

I"1!/ r - v f " 1 r 11 -"i »f- : _ J — | •

1 — — © — &A— —fe( : r-44^ — i—I————c~&—2— u ^

dB: ' '' jJ

• . —

-4—:f!~e "ttyi " • r f i ° j

T T — __jzr=tL^--f^—<

3Z H a n I :•••'

103

Ex. 109—Kerle: Missa De beata virgine, Kyrie,

;£rb 3

Q ^ b c, "f-

f = p = p = f

j j >u ' .r • M ..I .1

jet m

ip:

I I M — I J I -

Ex. 110—-Lassus; Missa super Ie ne menge poinct de porcg, Credo.

2 qsdfczxt

r r

- # • — © ~

T 5 — — u

±.—0—4 f

# - #

X 22 H YH X-

Ex. Ill—Lassus: Missa super La la maistre Pierre, Kyrie.

4s{-- e - $ 0 7 J

u n

& -e-

m m m x x x

104

Ex. 112 —Monte: Missa Pens Pens mens, Kyrie.

t 3E -H J - "*ni

? -rn ip

32 "l-—I-*1

r """'"I "P—

•?L"7fv 2.

J3- 7* JL z%L & 3Z

I|E

DT- 31 131 J-

I

it

I

Ex. 113—Monte: Missa Bmitte Domine, Agnus Del.

105

W 3

j. J* J -i

~0—&-f p 7 7

1

r 7 " T

Z S:p""1;""" — m 11 l i f e ! 3Z

jn

m i z x

Ex. 114—Palestrina: Missa Ecce sacerdos magnus, Kyrie.

TC £ =fc ~g

~Z^r s -p-

TT

G iz

-e-

m n YE x X X

106

Ex, 115—Palestrina; Missa Assumpta est1 Maria, Sanctus,

i H P -8* S: ZE

T

s J: j i, •Ht? «J3a n — — — # U W XL

M ^ J "€ v =

w

W X I

Ex. 116—-Palestrina: Missa . Agnus Dei II.

Assumpta est Maria,

/ ,f3

f = £

22 4-ar~g

F = f T T r ~ r TP - « L — - i U L J

ygjr—

$11* | T 3

iz x-

l l ZE

-e-TTTT

X-

107

Ex. 117—Palestrina: Missa Regina coeli, Credo,

1 J—ei-

M'- f M m tjjw r ji r err r=tn $

£ £ # — 0 " £ -e-

j -i >• J. J :=Oj i-P

IS - © © -

e I JL M X

VII - IV - V - I

Ex. 118—Lassus: Missa super La la maistre Pierre, Sanctus.

(j jk <f, p p ~ p 3 t f m

5 & frf r T f ^

m 1 i sh E i

108

Ex. 119—Lassus: Missa super Frere Thibault, Agnus Dei.

a 3 E t •» e~ "p1—f—&p -p—p-

j: JL A J- A J j

-f9--©-£

X I HI I-

Ex. 120—Lassus: Missa Sesquialtera, Agnus Dei.

ty-* i *tr If -6-

L — - r r l --rr—©-..•Z, ,,,-gr-

SpZI r ^ =

-cj-

vj

p a a (F-2—fi-

•CL

g u "o )d

—jet-•

H X M JZ Z

Ex. 121—Palestrina: Missa Ecce sacerdos magnus, Credo.

I r r t f f t t 0 f±A

T w

TOt

n. j t — miii- i

109

Ex. 122—Palestrina: Missa Ecce sacerdos magnus, Benedictus.

: xfl l' J' !•••' 'Ft — » . — — ( H — —

f

T-^f-

-Hr+5

1 f S, 1 j.

^ J J r"'"51 1 1 f p'

y-'ji

J. } J

1 • H 4 i f p 1 — f — -P P '

I I , W 1Z X

Ex. 123—Victoria: Missa Ave, maris Stella . • • > Credo.

T1

tt "• — f f f " r t f 1 PI .

d -6" — — £ - f - ^

^ J J o U - T

MW : —

i- i ® 1 -

Ex. 124-—Victoria: Missa Simile est regnuxn coelorum, Benedictus.

32 t O -fd: A

•J' -J -e- -e-E 1©~

I X 0 L f 1

110

Ex. 125-"'-Victoria; Missa 0 quam gloriosum, Credo.

Jl J_

m Hef-"pr

7?

a msz x

Ex. 126—Victoria: Missa 0 quam gloriosum, Agnus Dei.

H M M- M T x

Ex. 127—Victoria: Missa 0 magnum mysterium, Gloria.

J

H I M l I I

Ill

III - I - V - I

Ex. 128—Lassus: Missa super' Le Berger et la Bergere, Credo.

4 d- , J

$ s T :#z 0' o1

n- J J #•

y

•jj oL

TT

A -»U J-P' ffef TT

"EU M

Ex. 129—Lassus: propera, Gloria.

Missa Ad imitatioriem moduli Surge

r r1 p ^ - v J - P-— p f *f -|» 2

| t ^ **' J J |

£• ^ -^— zy~ f~ $

zi a HE

W--& 0

m — 1&- • ===£:

^ 1

MixolyJiciT)

i 5

m

HI JL

3 t =

3C.

tflt 3

Dorian

112

Ex. 130—Merulo: Missa Bene&icam Domiiruro, Sanctus.

-J m ^ " > r ,f

2 A ji I - -z—4 N £

Y'

cdL

r Ar—

£ m

h S i £ 7

9^ -C.

I "f3" T

-i' J »?'

r "j

r ~ ~ ~ r

j J 4 :

T

a a ±3: l l i 1 r*3—•—~w II = T

J-

f r f~ T r l i j f

-a-

i1*1 r ~y™ -e-

IZ HE X

E x . 1 3 Q - ' - C o n t i n u e d

113

4X o

~tr~ CJ

o . a j g L

r""lfift^1lT'lltrir •iiiimnniiDgW uwi

4V - f i r — o

t

J r - e -

f T W

o T K T " _ _

~ © ~

" " 3 ^ - e ~

" 5 "

§ i p t S -C L * i -

h H & - 0 ^ /~y

- e ~ ~ ~ e ~

o X

114

Ex. 131—-Monte: Missa. M ta Ifeyavi oeulos flieos, Credo,

' / J ^T d

J - f f ^

-fHr 1 r —2==r~t—-

*' ^ f f ( f :^4| i ~[ -

b'd: ;! J - =DJ

— — ^

" • tJ - . ' ,„a_AJ

iaist-—~i

M M 1 2

Ex. 132—Monte: Missa Si ambulavero, Kyrie.

Iqtfzz ff - 3 * B M

S i t z5 - -

~r~t

j®3L •T-$ m VJJ. nr x z

115

Ex. 133—Monte; Missa Si ambulayero, Credo.

I jg p-p' 3 gil r 2

£r

g | | =|~=j=:1 1 £fei

?=

is-

r — r M M i l

4=|-

r H

Ex. 134—Monte: Missa Deus Deus metis, Agnus Dei,

~2M ~rj"

SB t j f JTZ

I k — J

-e-

m

f f Y T n U i T

J ~3H £

t — - h in i z -' I

116

Ex. 135—•-Palestrina; Missa Regina coeli, Sanctus,

-e- 3Z $

J J J XL

teEEEE ^ J J J J HSH

f T T "

IE £ I I I

TT

X

Ex. 136—Victoria: Missa Ave, maris Stella . . ., Gloria.

j J J J — ^ _ i

3 3 IE

J l J J J f -e- ^32

n:r _Q_

31 EE -©-s :

az- 2n JE I Z X

117

Ex. 137—Victoria: Missa Ave, maris Stella . . ., Agnus Dei III.

it j J r! pi J j j-j-^ 3 "MJ"

r r P i' f f -e-

4-

- i j J

~p» -e-

fpT

ml 3E f <&-

te- xti in x x

II - IV - V - I

Ex. 138-—Kerle: Missa Regina coeli, Credo.

"it f < : f f t ' f 2E 3t

1 i I J J tlHa w—22 -w w 3E

T x

•ft IL M X.

118

Ex. 139'—Kerle: Missa De beata virgine, Gloria.

s 1 3 3

7 ? C f Tfezjz

^ j J

i * 1 0 jinl r f

^ J J j_

Y=f -Q-

EX I H JST Z

Ex. 140—Lassus: Missa Sesquialtera, Sanctus.

r\

J •CL— - ,. ^ =5 3=

i - J . ZE

=p=-

-J—dsl—G.

rgz ¥ f

s; jx;

-i o

: e : 1 -e- ZE

•jw

m Z K M I

-€E^~

f

Ex. 141—Monte: Missa super Revlens vers moy, Kyrie.

& XETp

fV-LJ to

*/* T1 -ee-

EL

rr

4-

T**— to

"D~ =<gF ($f©"

i t — Z ^ r " o

2Z f - f

j- E M. X

-mb a

119

Ex . 142—Monte : M i s s a Qua, t e r n i s v o c i b u s , Credo

L - M i r j)"!'' •ptr-tr

i i V t

C/:

o

rSs. TT j ± T T

3Z

A eclu R W Y, an I o n i a >}

Ex . 1 4 3 — V i c t o r i a : M i s s a p r o D e f u n c t i s , I n t r o i t .

^ - T f f f - f t - —

FT

o : , , » 1 — 0'^ — — flCIZZ

^ # = P

m l 3L E z

Ex. 1 4 4 — V i c t o r i a : M i s sa p r o D e f u n c t i s , Communio.

ffl! if

4 n n t 7 - V

tT

0.

331 - 0 -

4&. •fih -HSt-

M"

x jsr- j i j e X ~

~pb

X

120

Ex. 145—Victoria: Missa pro Defunctis, Responsorium.

t f c M d - ' - i - 4 - 4 = t=t=H

"if. * -U — T*r

' f-J—J _PU—

-J 0 [ - « — —

31 3Z: JL M X"

V - IV - V - X

Ex. 146—Handl: Missa super Transeunte Dofliine, Gloria,

±Df Xl -8- IE I -e- ^ 3 TT- A :$z

9 TF - e - - -£r

-0" -& JOt •"PT SX

- f t I IX

H ? - 6 - — 6 -

3E ZH

i l l E X

Ex. 147—Kerle: Missa pro Defunctis, Offertorium.

&

V f f - © = -

HE ZZ f cr

J m x J2 z — x

121

Ex,. 148^«Ke^le? ; .M^asa, p r o D e f u n c t i s , Popt Coinpiun&Q *

E 3 •i "•'.'» - ""'y\f' 'w*** m 5 =§ Z Q g j§~ TT • #

t f r

_qL ~rr 3 t

T f

3 t

? 2E jgfc - p TT

H - n: z 12'

Ex. 149-<-.Kerle: Missa, Regina c o e l i , K y r i e .

_L 5ZIIIZS. irrSi

g - T n 3X 2E

ZE jefc § EE 32; ZE T t

H I X IE Z

Ex. 1 5 0 - - L a s s u s : J l i s sa super I e ne menge p o i n c t de p o r c q , K y r i e .

te £ i w

4^S~ t~p-

ihj—6-

¥ f ~

= 4 5 7- / /f1 J -0—

JS e—"H—-#-£

m it tv. v i«> 11 Wi jpirr—r'

122

Ex. 151—Palestrina: Missa Ad fugam, Gloria.

w r r r f+tf f T

IT*

er-Tt ii J J,. £

T O T

mi x MIL X

vi - i - v ^ I

Ex. 152—Handl: Missa super Transeunte Pontine, Benedictus.

f'.b i.. £ P" _Q_

S i J

f|'. 1'' f EE

-d- J J - J j — — — — — rnz

X 12 S X -Z- X

Ex. 153—Palestrina: Missa Regina coeli/ Kyrie,

B S 3 :

3t £

: S : ••/ O f -

.i

3 s

-J0>-

q»~ fz

T ¥

s

-&€h

123

M X s l

Ex. 154—Victoria: Missa pro Defunctis, Responsorium.

-gp-TRT

-&c j±L J- ia. -ieh ~€h fra-

-e~ =&

jZH H S X X-

124

Ex. 155—Victoria: Missa Ave, maris Stella Agnus Dei I et II.

EjE 3 •a: ;j f f 25: -e "XL "PC

J2_

PT O T T Tt — . ' l at ±nz j§t

i J ? s x : z-

I - II - v - I

Ex. 156—Kerle: Missa lauda Sion salvatorem, Kyrie.

£ E 1 1 1 I1" - ' o ' ' ' " W " "

f W T T f T

•Mto °= £ -P—©_ f

3*:

T TT O

J. J J •O _D_

A--rr-S E ~o" '

I 3Z I H X X

125

Ex. 157-—Monte: Missa Emitte Domine, Kyrie.

| )'i 1 d , ~Xi — fh -U , __ *T~ .1 u

^ j p r4f r iLrr-lnLt/f p 3=? i=j"

a h vt' oi •0 &

-4h 3EZZZZZZZZ Z

JE

f JE X X JE x - X

Ex. 158—Victoria: Missa Quam pulchri sunt, Kyrie.

5 p ° V n

•p' "F* p

r c L ^ jfit ^0,, ZE |J*»" =E f=F 19- TT

H I I I 1 X

126

VI - VII/V - V - I

Ex. 159-—Palestrina: Missa Ad fugam, Credo.

m ^ j — f J

~ t r r' f r — f f — p

^ . j J* J jj j # cr * = = f

•e-

w x si *yk x x

*VII of V: possible precursor to secondary dominant.

Ex. 160—Palestrina: Missa Ad fugam, Sanctus.

|D i v J. th LpJ f —r — ! f-— 1 ; h

:iP « - t l l f r -

J 1) J :£)•• 3 f

^ c r r —

..p. ~

prr^-O —

JLU. f ' X •''X-

--e1——

— -

^

- 4 — 4 47L_#_J

I E - — x. n • x — —

127

Ex. 161—Palestrina: Missa Ad fugam, Agnus Dei I.

§ ttr#r f

J—J

e HI m

IV - VI - V - I

Ex. 162—Kerle: Missa pro Defunctis, Tractus,

-©< 3

3E 3Z

in:

f ^ r i z

v n ^ "ZZZZDZ I E

. IT W Mijto !yJ ian Dot/an

E I X

*"T?" E" in tenor is an accented passing tone.

128

Ex. 163—-Victoria: Missa O guam gloriosum, Benedictus.

$

m A.

S E

-d J J-J J qL

I

s

3t

HBf-

3£ ® I

*"A" in tenor is an accented passing tone.

II - I - V - I

Ex. 164—Monte: Missa Deus Deus meus, Credo.

itV * •

W R -3L

• l • i 2t £

#>- ir 0 = F P

zc

32T HI IT X I

129

Ex. 165—Monte: Missa sine hotttilne f Gloria.

f\ xm J. hi B E

F r j J o

rr i -e-5

=P

r w z i z i

*Suspensions in soprano and alto, followed by a consonant fourth between bass and alto.

Ill - IV - V - I

Ex, 166—Lassus: Missa super Ie ne merige poinct de poreg, Gloria.

4 = = 3 : "4——ye—W 1 y 0 p- ji

1 <J *1,,^—0L4I

H 331-

A-± -e-

HI .23? X

-fap

X

Ex. 167—Lassus; Missa Sesquialteraf Kyrie.

130

o

S H E I S ^ & d)

m -e~ r-fc-feprs: 7 v «S~

= 5 a _{=!_

x n -t m n z

VII - VI - V - I

Ex. 168—Victoria: Missa Quant pulchri sunt, Benedictus.

5E F t '•ZJL h $=pt!bb ~#r r -e-

H^CZ^ZIE

:p in: I »• -e~ 3E tr

n i HZ .32 X

Ex. 169—Victoria: Missa 0 quam gloriosum, Gloria,

iSfcj; -ft-^t—FFP

±ztx.

. L.

j&J. yj°r> ^ y£l»nt Jumna, ^} «aM<«

|£~z3&S 7

>> f — p - —r 4„ i f-—i-r

ft 3-~

cr

-0-

M w

3C

i

or M M X X

131

I - VI - V - I

Ex. 170—Kerle: Missa Regina coeli, Sanctus.

4-

3 -4—:=• 17T7

W -xt- •Jt WIT u

JL A- 4==zk Tf—U H8&-r -f"

/ "D& " »— TTT W* m

rt 7

x 1 1 2 X-

Ex. 171—Kerle: Missa lauda Sion salvatOreni/ Sanctus,

ifc tr

zz=fr3t5£ w jp ~e-

f r y I&Z

si x

£ X SL 2

$ lar

3t

132

Ex. 172—Victoria: Missa Quam pulchri sunt, Agnus Dei III.

[a J jj-1

'h i:' " V - •••• 1

J p - J n " -'' j ' * 0 j 0 "

' ;-"i rv n

: — p ,

— W --

• • <Hf. ...... ^ 1 4 . — u ' " " o • |

Ifrfr U v^" •~J * * j CJ

^ 0 .

^ —

I X I * JZt Jt jE

III - VI - V - I

Ex. 173—Lassus: Missa super La la maistre Pierre, Credo.

"!' n J m r r

"0 T

I IE E IE-

133

Ex. 174—Victoria: Missa pro Defunctis, Sanctus,

j r x_c :£

K "zgr 7 -d-4~ J£t

W

JS.

T

-J—J-

V 7

-J0f-5 z = E 53Z

J I H Pot ian XeoTi

JZL J L !4n

X

vi - xi - v - I

Ex. 175—Victoria: Missa Ave, Maris Stella . . ., Sanctus.

~*fv J I ! ^ Z 3 Z 3 : is:

TL ZE ±

M

~ # r .XL

• , _ '. ^ ?. sir

-p-

.a--e-

*h*

" 2 " HI. n n x x *Unusual voice-leading.

134

V - VII/V - V - I

Ex. 176—Palestrina: Missa Ad fugam, Kyrie.

¥ tr j[ I

H«L

zrr j*" p

J i

m -i*-

pH±

x M X i/ 4z: x

*VII of V: see Ex. 159.

PROGRESSIONS CONCLUDING WITH IV - I

IV - I - IV - I

Ex. .177--Handl: Missa super Elisabeth Zachariae, Kyrie.

*Bass note "G" serves as a temporary pedal point.

Ex. 178—Handl: Missa super Locutus est Dominus ad Moysen dicens, Benedictus. ~~" ~~ ~ '

-fi J2. E = F tt-;w~~r t

?± -p-

f~ .JWL... -e~ © - -e-

31 T W T TV-T •i

135

136

Ex. 179—Handl: Missa super Elisabeth Zachariae, Sanctus.

$ 3 L - m -

J

trr J X

12~JZ -b~ in: -e-

-jO~ J JX

JxSzl A -e-±n:

5 5

d -

tj. i it-

f f ~^r 2E ZZZ2T 7 cr

n x J2 : r 32 i

Ex. 180—Handl: Missa super Elisabeth Zachariae, Agnus Dei.

ZEIS

a o c

Ex. 181—Handl: Missa super Dorium, Kyrie.

137

7"- T e-e- 2SE #r

F x* -

-e- =P£ ZE

jpp

_©> m A JX J ^ q! ,»L„QL

• -fi H--S*=T .

—J-t t t i o

XE % -e- 5 zr -©- -e- -e~

E T 12 I DZ -X

Ex. 182—Handl: Missa super Dorium, Gloria.

-e* % 3 e-zz -e- 3Z u

—sL-k&l- -e£—a •fe : J J J t n

$ 3 33^:

XE -rgr - n ~

jfeL io zi - © •

J -

- © -

32 21 J3L - X l£- •X

Ex. 183—Hand1: Missa super Dorium, Credo.

138

m j

TT -e~

-J.,- *4

t1)1 u' t 3EH 3Z 4e-

jQ_ 4- J&P -0L J ££=e=

• ~ € ~ *

& J oH~~d

*|0~ --jp-.

•J pt T C

j. :A M

"jST JD

i - © = • -0-

3 m t -e-

I? 1 J T I? X

Ex. 184-—Handl: Missa super Dorium/ Sanctus.

' J — ' BE -e-SE

is EL

m

7

IXZ ej:

4i '4 Pt. 3Z JZ m a: n . u'

31 ~e _@_

fH i pi F J: *

J—J—J—qL zz

M

-a-

TT •is

m z

- © -

ifc

ZE

-e- 3 S

-3E I

139

Ex. 185—-Hand1: Missa super Dorium, Agnus Dei.

fj tJrw i Jm ' mm. in,,.. ^ ' ii'iMii , ''>• MM I " m jMii"

^6^r ~rr^

^ ttJ. [\ M< o -2t ir ,.c •p,-,1, ,"~y

Ll im;

f ZE

EI=E J. '4^-& £ 2T ~ee « IE ZZ f f ~ P -0-

x- S j£ X J2" X

Ex. 186—•Handls Missa super Locutus est Doininus ad Moysen dicens, Gloria. ~

a tet it 'Z^zrT~nzz=— •$ f P — p

5t 3ft rszzo:

-e= ZE zr

43

_<cJ

# # "

5 E-

-0L

IT

T

J J j

•x M T x

140

Ex. 187—Handl: Missa super Locutus est Domlnus ad Moysen dicens, Credo.

cJ- ^

V I" W u

^ J m m 3Z 22

T r r -fjrsj-

Y~r *^"

% i . m ESE i=fc

u ~e~ -e-

X -

T3 —

X 12- -X M T

wjfci ww

Ex. 188—Handl: Missa super Locutus est Dominus ad Moysen dicens, Sanctus.

s ^ - t e zr

ZZIZ 4

zt:

•Hire pp

- © -

XE -ej-

= 4 ~j9~ 3

-p- -m-

SzrizzS: / D V

=2 "

TF="

X- - H J2-

-e-j§E fef-

r = f : ~e-

-i iz T I

141

Ex. 189—Handli Missa super Locutus est Dominus ad Moysen di certs, Agnus Dei.

7k 'T d it- .1 3Z ZE

5 t r r "r p

i

^ ri J BE lj5 p f . |°

H X E

"T T ! — — C T

3? X x

Ex. 190—Handl: Missa super Sancta Maria> Gloria.

i 35 3E ^3' fb)Q-p- TT -pf TT ~e- T

-e- 5 ZT =T?q.. • o w

It zr

- © -I3E3 g 3r

n. r IE x jgz: x

142

Ex. 191—Handl: Missa super Sancta Maria, Sanctus.

•& hTT -O-

m ^

r i i l l

Ex. 192—Handl: Missa super Adesto dolori meo, Sanctus,

nn±: H6f- ZZ ZE

TT •6©-

"cr -p-TT

22ZZ3=n

-ssf2-

B . til SE

2Z IT TT

I" •H K - - I I X

143

Ex. 193-—Handl: Missa super Transeunte Domine, Sanctus

no 'j ' 1 4 : k A', o v _ o ~rr

5 bo (b)o. - f e -F 7

'i J p f C IHE & -0 bp. <>

IE- X U X IT X

Ex. 194—Handl: Missa super Mixolydium, Credo.

i&-4 _-«rr^-. O U " ^ — ^ — = — — = 3

• p - p r f y r r "| P p t r f P ~~ =ioS

-JC u = ^ -!/ W' 1 -f—f- p_^L_L __j: 3 ! *—4 1 1

— — . — .

K r M X. -E X

Ex. 195—'Handl: Missa super Mixolydium, Gloria.

£ ijj—z—^

J—4—J—J-

-i=f-~a—i®~»'

A- .J. f

f p.. p I —4' -f-

f r I J: di

ZP

T xi.

*221

3Z X EZ" X JZ X

144

Ex. 196—-Handl: Missa super Mixolydium, Sanctus.

3 32 B 2 tz HE r ~c r T

tn T

-idL -6*

m ij/.. 1 HE JH

ZL X- 15" -J3T I

Ex. 197—Handl: Missa super Mixolydium, Agnus Dei,

Z ¥ • —

p J* j» » p ~Q

A ' <[- i f < 1

i a i x — j ? r

146

Ex. 200—Handl: Missa super Apri la fenestra, Sanctus

z ) •' W f-v

Ju. 3

4—ii -e TT F T

-fTT .E ,.;T 2£ -j9- 2E

M. »

7 si

j» | trj J3T" r JZ ' X-Bt - I

Ex. 201—Kerle: Missa pro Defunctis, Sanctus.

•

•TOT n fan

f-j® °p- p |<J BjJ ]»" f"

"HSr - © -

071 At&lian X JE jf

1 4 5

E x . 1 9 8 — - H a n d ! : M i s s a s u p e r A p r ! l a f e n e s t r a , K y r i e ,

f r i ) I i

s

J . . J -f l i i i - ^ • ,W I I - .--- -

-3 r f £ 4^

— B — — [ • 1 c j

1 2 X J 2 X . X L ; X

E x . 1 9 9 - — H a n d l : M i s s a s u p e r A p r i l a f e n e s t r a , C r e d o ,

3 r l - J J

I 7 X - & • -&~

r e

7T -1 r r - e - i—U- - e

jL_£L 7 f T

JQI.

z £ 3 E

^ = = g : - p X

1>-/ ! _ 3 1

I I ' i - S -

J Z X X ? X

147

Ex. f02-~Kerle: Missa pro Defunctis, Responsoriuin.

Htrr-¥ -%• T St -e- ntzzdbgrzrfe

:fct 3E ZjpE

3 H X -JSC r •w—»"

r 3Z

o-

•. c/

V-/ I *Tenor note "F" represents a dissonant cambiata.

Ex. 203—Kerle: Missa Ut re mi fa sol la, Agnus Dei,

77:: \Su It

let

.d! jJ »YJ~

«,L(

21

—

3=8

M

JV I 3jr x JZ X

148

Ex. 204—Kerle: Missa lauda Sion salvatorem, Agnus Dei.

| I T W

Ex. 205—Kerle: Missa resurrexit pastor bonus/ Kyrie.

k r r r r r r

*Bass clef "D" is very questionable as a chord tone. Alto voice^leads to the conclusion that both "D1s" are types of suspensions, thus weakening the possibility of interpret-ing this chord as an irregular six-four.

149

Ex. 206—Lassus: Missa super Ie ne menge poinct de porcq, Sanctus.

ifaz 3E

Y f Si r r

HI 31 <u. T « ' £ ZE

1° ' T

h j h i n i

Ex. 207—Lassus: Missa ad imitationem moduli Surge proper a, Sanctus. : ' :

I IE

150

Ex. 208—Lassus: Missa super Jesus ist ein susser Nam1, Gloria. J •.

A ttyl % m ' w i £ ¥

•Hr

1ftlT—g

rr~T~j

m :&zse

3ZZ

M ^~|r-sp~Y" -m p=-

"Cj"

3T Tt

21 winJ»m in JZ X M -

Ex. 209—Lassus: Missa super Jesus ist ein susser Nam', Sanctus. ~~

M k P

-fer -S——55

= 5 -e1-tazzE -lef-T T ~gF

44

*tr 15" 10f

A W X

riot -e- •«•

Ww|j

A

n &5=3£

X IE'

151

Ex. 210—Lassus: Missa super Jesus ist ein s'usser Nam1 f Agnus Dei. ~ ; : . •'

j J ol

3

9 ©* & - 0- & "p |T

f f

J- J J' a J

-p -p- -p-|>- T

M i ixe —jp£

M X E X M

Ex. 211—Lassus: Missa super In principio, Sanctus.

£ fcs

az—ES

ip: J E

~4%r

-e*- -Ee--e- 3C: ipp 35

J L xi .J CP"

vJ

-6—-e-•rsL—J fyrT~ ~}-rJ

Z-

r X I?

3C irr—rr Sp

x n x- vl/

152

Ex. 212 Merulo: Missa Cara la vita mia, Agnus Dei.

I ii^ .bfc=ib • p — — — — pfaaL —-A- v.

:fr)' "-r tff=

T?rLi!1

N-—- ••'- - ••; -

t J* J? i .

r tt~r~

JHJ-' J' J laEE

i tt r

pjj-.1;'." J- JTJ- —J

] : ::rv p- I-»J

•tr—; el J f B—1

-t~ —£__ =tff f v T

*=—£? • H

=rrr . r r- j •i- J1 J r r f J

X

i y bo

iz CN

X

~uz

J «QL^,p^ J HZ _K

i -J-

<0^:

HE

Tp"

ZH! JCE ET

psg:

c

-e-

o -e-"tF tjj

c

153

Ex. 213—Merulo: Missa Benedicam Dominum, Agnus Dei.

43: .g

I2A f = F

H ~ r * h J -J j" '• w — - —

f { f t r

r j* u-

ill

35 lii J"

!u 2_ tr x .

i j _

VfT'Hf " " # ' 1 1 #

JEiiEEi?: »M ' . iwwiewi T i i i i ^ r ^ *0-=£ & £ 3 -

i i Q u , J

Ex. 213—Continued

154

m JE f ? I t i t f f

j-

""*toa

"F

tcSzzzz

j» p-

3Z-

H E

2E

X

" r r

T P

- e -

u

o

O -2Z=

r^e-o>

155

Ex. 214—Merulo: Missa Susanne un giour, Credo.

d m . L J'-fr J—r~+

y-v

JE JO—, J , f?. tM:

t -4e-£ 3E

s~\' ±sn: 2Z

3Z

M E X M <j

Ex. 215—Merulo: Missa Oncques amour, Kyrie.

f j — 1 : => Tfrf f— 1

G - t f f '

r ' s 0 -• — © ~ —

o

3/i d — j ~• Ql '

! { 1 hi~r—h— Htfc • •- -

s>- 9 i® S*~ "

EEJEE5^ s£zJE ' '"6- ...

— . . — —

• ' •* ^U^Z5t^==i

J I I

—A-

h — — 4 + f ^ •

o

Y. JZ- i f f i

Ex. 216—Merulo; Missa Oncques amour, Gloria.

156

M

i i r r -r r

f r r r > — i * — f r P : • E r JZ—: I I f

Ex. 217—Merulo: Missa Oncques amour, Credo.

r r r - e

t== i

E X X I I

Ex . 218 -Merulo: Mis s a, Aspice Pontine, Kyrie»

157

J

12 I E I

Ex. 219—Merulo: Missa Aspice Domine, Gloria.

:;4<l

J f T f r

|[/|,A. A n i T ? d

T ~ r "pr."'"; ' ' |# fc^*—

p^e — U — £ T • " -

O

-i

—-—gl — m I- -il

r- -

bEErr: :::E3

oA' Ji :t j

r ™ —

, o • • ..JjJLO

x- 3? J IT

158

Ex. 220—Merulo: Missa Aspice Pontine, Credo.

kW-. ^ —-'Or* rite!

J Z f f 1 nttf f =pj

r>H"~ :—' •

— :

L f r ?

. **%.- . . . . a

"O" s J

" o -

- 4 - J -

-.cfLi- g_ il-a—r— 1 -fj. • • • J L #"•" 1 ixL Jul

'"O"1

jo.

-/bv i u [ r ' - f . . : P : »*-— Q, U-

X 1 H K X JZ-

Ex. 221—Merulo: Missa Aspice Domine, Agnus Dei.

m rs

(• l» p

"W

lC|'j J —

iM I* , f

r T

pj ~Tf V

-J[

r—r

tdl' J1-J

!5£g£l.. ...... ,

f- p r

~j£>— p-

- © -

3E

=»e-TT

IjW

HE

x- .12 X M -e—

I

159

Ex. 222—Monte: Missa Ad te Agnus Dei.

levavi oculos meos,

& i—r *1 ^2Z=^=0

?-jir -ei

bir T 7 " T

3 fV^- 3 zr - © i _ n:

a

4?rr- -fil 4__4._4™|_ ; r

j s f a i r = = z — ? ^ - t 7 ^ — h i 118 m ! i

T M

pi -&-

3 C S|I

J- • {zj-

x js:— x

*A III chord is possible here except for the irregular use of an "F#" as an essential tone in the Dorian mode.

Ex. 223—Monte: Missa super Anchor che col partire, Gloria. _ _ _ _ _ _

-IV rsnzqfc

U "Y~& 2£ - # # -

I "t¥ r£ 4 — I — far- .

n #e-~fk <J

3E" ~CI

JJI 3 2 1 IE* J ~r -c/.

J2 X

160

Ex. 224—Monte: Missa super Anchor che col partire, Agnus Dei.

1 |' J | -j—— zuty ,

f f f f =

4/ Mr »• r f '

zg:

^ J T ^ ~ w-

w O

-f" p - j -

jl- J • jJ ^ e L c i — e — ~ — _

c/

•R: V It

X

X M JZ X K

Ex. 225—Palestrina: Missa Papae Marcelli, Kvrie.

•p Ti

JZ M M X

161

Ex. 226—Palestrina: Missa Papae Marcelli, Gloria.

2L X

^ = 6 = 3E nz :;=0-

3 E =

T4—

-J: fit -sL ® Q

zz:

X —

nz zoo

162

Ex. 227—Palestrina: Missa Papae Marcelli, Benedictus.

j -! • -I • f J J | "j" • #

p i

£ <J . D

— — * - # s p - ^ T f 3E

2Z

H H X j£

Ex. 228—Palestrina: Missa Papae Marcelli, Agnus Dei II,

F 3 £ = : T. •

. - r j — J — J —

h { ± = ^ — = 5 ™

i-fL.8 |»- «...

C ? ^ r.-'

t j r - r r

j — J _ —

©S=c~

—0=^:—• ™ LT*—""""

^ —

1 "6 -$! r

^ST X, • r —

/ j — 1 —

—0—.—

" 17"-"

*Hst——-

:rrfc=: &±=Z=L-=r-! — ' Z 3 T ~ Z

7Z Z IE X n. z

163

Ex. 229—Palestrina: Miss a Papae Marcelli, Agnus Dei I

/ *0-

W T Mixois/JTaji" • o mart

+¥~~rlr-— — 4 — |'-L—^—

— , _ _ _ _ _ _

u

h

— t -

—p—' —1 -fB n— — —-e-Z.—J.. -yt

J 1 -A: S— ...

- z = - tzmz —>4^

164

Ex. 230—Palestrina: Missa' Jesu, nostra Sanctus.

Ex. 231—Palestrina: Missa Assumpta est Maria, Credo,

EEE I;

I n

-&•

"NT "-jwi1" •*— **r i III F~ i

15-

4 21 -e-_£L 'M

X JZ I TF

165

Ex. 232—Palestrina: Missa Ecce ego Joannes, Agnus Del I

Deriar* Hixolydu ran

Ex. 233—Palestrina: Missa Regina coeli, Agnus Dei II

e r a 32=

# -

T f ~ T "" K"

mzxzzxr: M.

3Z_ 21 -e-

$ 3 •*tr q&e-

I 32 r m x

166

Ex. 234—Victoria: Missa Quam pulchri suntf Gloria

• I . . , "IIJJJ0I ZE T F f~

4

aeC

*

m & •

» 0 I" rt

SL JZ I H X

Ex. 235—Victoria: Missa Quam pulchri sunt, Agnus Dei I et II.

y5"*5 | T ^ •J ^

3_£e

f f IT

A 0- -e-

7 •• J M

X. M

3__J_ -e-

167

Ex. 236—Victoria: Hissa O magnum mysterium, Agnus Dei

Ex. 237—Victoria: Missa de Beata Maria, Credo

£ aft

PC7

Don ati llg _ hi Phr-vifian n

-r**

168

Ex. 238—Victoria; Missa' de Beata Maria, Agnus Dei III

-e- -o- nJKHRIM

TT" ~ © ~ «©•

=p 7

3Z 22 -

etr jCL

j<£2k Z£ TP"*

-MM*'

, J

S tr

44-

JL £

IE

'It"

X

*"0" (bass clef) on second beat becomes a suspension, resolving in the next measure.

169

Ex. 239—Victoria: Missa deBeata Maria, Benedictus

«' J "0 Pf

i

z0 ri O

T T W* T If X 4>h<I ^ aM*Jhn» mJLot ml i *— "

Ex. 240—Victoria: Missa pro Defunct!s, Kyrie

- >r~"

j p ^ J f f

-."pi

:S=E$_xi

H-e-—•

rnur

|»-p -p

-a- , fir: h-e—— — — E : = ^

^ — 1 :

-

HS

_cLj_(_i=

z®

3 M = ± d

3Z I— - — <HM—'

3C X-

170

V - I - IV - I

Ex. 241—-Handl: Hissa super Saiicta Mayia> Credo.

K l ' ZZL

•e

in

n i- %r

•w

-6P - © -

171

Ex. 242—Handl: Hissa super Dorium, Benedictus

,"?•

i

kci(fe)J J j #3 J J „l

"/•[ '< • w

1 (j, . p, -e- #==£ 22 f—-p 12 ——

•m »y »iy E I

4»*Ziwe

Ex. 243—Handl: Missa super Adesto dolori meo, Kyrie

f^pr.

M-mj j iiu-'Wiai 0~

-e- 5iE 2PZZ1 7T H sr 3 -fee-f i° p ~Gj~

• • c t ; •e- ippx

-LU _4~ -e~ I )I STV.»II i.J X X I je x

j__, ii•Ti i • . •" "" 1

172

Ex. 244—Handl: Missa super Adesto dolori meo, Credo

H : i ' j i> "¥u

>w * * " 1 -

- © - M

nr -J " * © • -6F

12 £ rr xr

JQL r\ /i

TT

•O-

TT

-e- n n

**f" 1'V —•'> in. linn iV>

m 5

7f>

6yrf CT g:

IE • X JE

*Cross-relation (B^-B^) was notated as such in the edition from which example was taken.

173

Ex. 245—Handl; Missa super Adesto dolori meo, Gloria.

i jfjl

{qpr p - — — P i©- -jiF

J-. ^ -J"

X

Ex. 246—Handl: Missa super Transeunte Domine, Credo,

x x 37:- x xV_ X

174

Ex. 247—Handl: Missa super Mixolyaium, Kyrie.

P r f f t r t r

*•&. ' r#L -id

H I E

'Somewhat unusual for this style.

Ex. 248—Handl: Missa super Apri la fenestra, Agnus Dei. "

1 7 5

E x . 2 4 9 — H a n d l : M i s s a s u p e r A p r i l a f e n e s t r a , K y r i e .

I j y J > ! r ^ fy r P J j X L I E

5 J

-A4--0L -0-u- , w a. jz o- *' a

r f

2 E = f =

2

5

J . J : J- -*L J -e-r\ . e-

e-zzzz: P" r P

Z E

5 H e : iz:- x iz-

wr ) j Q-p — F

-9^- 32

7 T T

2

Z E 32

- a ilf

1

* T

X

176

Ex. 250—Kerle: Missa resurrexit pastor bonus, Credo.

• f t

3 ± ± O* § 3E

J g u a- £ m

7'{)C p 3± J •J..J..^C

P cr

V X 32- £ X H X

$

& dsfc

*Irregular chord. Parallel fifths between bass and tenor, second ana third beats.

177

Ex. 251—Kerle: Missa lauda Sion saTvatorem, Gloria.

m :=s_ -jet- w re - e -

§ 3 = '"Op*

y y r T f

_CL - e -

IX. J J J -Q-

P - t f - * si/ vr w t

WMMMfei #*4 ®"**= 1£

Ex. 252—Lassus: Missa super La la maistre Pierre, Gloria.

It -e-

n x : -he-

i T

i l l

J .

r r

-e-

7 irj-

01 X X

HE

I — JE

178

E x . 2 5 3 — L a s s u s : M i s s a ad i m i t a t i o n e m m o d u l i S u r g e p r o p e r a , K y r i e .

U

M § - f r rr r f

~ n - p - f z q c

# | » r f r s z r z ^ z n : £ X X

o

=?§P

& 3

1

3

M

32.

31:

3 t

X

J?""

~~r~J

X o

o '

179

Ex. 254—Lassus: Missa ad imitationem moduli Surge propera, Credo.

•pOT p 1 1 j_ ;;;,{

r f-—{-—I—

—J r ^ - T ^

I o!

»J—UL— pi—i

„J2i_

Ef-~ ~|

.OO 1 •1 1,1

h * — p H i - ft) k " p=j _nil \ l w - /

- e — — ^ — - J —

S ^ =

-el o1

... *-s • .

H* ; : bar——•

•J J J J "P * n •

X £ — — ~ X — W — -- JL iiT,

Tn

o

i

i -d-

180

Ex. 255—Lassus: Missa ad imitationem moduli Surge propera, Agnus Dei.

r f\ ' . .J-d .i.-J, w jr~ j» |) p.

i 3

'»• * H F 3 - *i; 4 a. rf|."

- J — J — J —

* f

m w

rr TT

c/

E 3 B r y

Q-. ^ J ^ •

X

iz: x i F

H

181

Ex. 256—Lassus: Missa Sesquialtera, Gloria,

—-t—rzrz: r\

F f n

— —dA ^ J ^ J ,1 j -ra-'.; ..41 Q- * , » U,

4 c^t- p ^ T j

"nrr——rr—-——

if-ij-

A -

a iz i i i

Ex. 257—Lassus: Missa super Ecce Maria, Gloria.

4 i & y — o feVT £ - # • ^ 2 r 7 Tt

^ cj- TT 3 jX f Q

ZEE SI

jeL J. « - JJA ZE

# •

* "tr

# =

X IZ 2: JZ

182

Ex. 258—Merulo: Missa Bettedicam Dominum, K y r i e .

.! . /*—j . -X

J '• J—;—

^ 1 i 1^ cl f 1

...f, . #, ,Aint „

- 1 - • • z j r |»

,| | J Jr— 1

-Q'#1 '#• I"*

f r f J - * U j J

p - - p" #" ' j» ~r 1 ' — ^

' r*]:.±z=i

r x :

- f V i

p——< f •. — t — - :

L- , d J — J J — ~T7t"t*{f"——[—•—0 0- — _J

. .. # * U

J J J —

\ r r

=sp~i» "f~ f 4 f -+

L ,; -*

_ _ 4 _

'3 ."' u—i-I- 1 - ~

-fc 1 J J J — - 1

y ^ - f ' "T^rf

-J- J .

i _ j r :

I f f ? r

J j J •f±. - = T » ,* ™

p y r T

•TT/ D-y l — t — r —t-

iz:

""O— w - —

^ 0 — — — . — _ I ^ J ^ C T

—^—ph———L X. * — — — —

Ex. 258—Continued

183

ffa o

isst =e^= ~Gr -r+r *0-A.

ix xr~ *o> f

n rr' -fr-

184

Ex. 259—Merulo: Missa Oncques amour, Benedictus.

~ • t-r~t-n 1 1 "

L - i - j ol -

j—e — -

o — © — L - i - j ol - J'- J* vJi:

j—e — -

o — © —

E X X r * P X I E — -

1ST

X .

Ex. 260—Palestrina; Missa Ad fugam, Agnus Dei II.

^—jV |T ZJ f f T~T U Sb

5 5 T&tfc * m i f j

, . - 4 ' — -j—j—J.

H g Z3Z 5E

I • % * x E I

*VII of V—se Ex. 159,

185

Ex. 261—Palestrina: Missa Assumpta est Maria, Gloria,

xi.

(| ,1 J =st: r.

£0i i ¥ JL

u -

~p~'

X

I P

f -y i f

=r=—~

..,J.1..,. - * °" 1' —-e—• h _Jr

p —.

O' • — 22 —

""""jSi—,.: X

186

Ex. 262—Victoria:• Agnus Dei III.

Missa Simile est regnum coelorum,

b—0

J. 4- Pr

M

Y ~fz y f' -f Y Y f"

EC

X-

u

3E W •C-/

187

Ex. 263~Victoria: Missa O magnum mysterium, Credo.

J 5 #~e~

# •pr

-e-

"IT-"tr*

jj- Jt J J -e~— f±

Y-

¥

€v r - ^ V Ti -ft"

M 1~

*"G" in soprano is a consonant fourth.

188

I - VI - IV - I

Ex . 2 6 4 — H a n d l : M i s s a s u p e r E l i s a b e t h Z a c h a r i a e , G l o r i a .

i&i m $ 2 2 *i—t JK zz.

A :V'rv A-

i s : J Jl>fr

p- ^

H = ^ J / 3 • © -

r - r r ' r r & |* |»-j=b

-e~

X

ZT" "

2" I

t r

•o s = * t t

5 5 •jft iCF

f ZE

2 1 2Z> en?) ; -

44-

± E

-jae

X

189

Ex. 265—Handl: Missa super Elisabeth: Zachariae, Credo,

rfr—

m w

Ex. 266—Handl: Missa superLocutus est Dominus ad Moysen dicens, Kyrie.

ZE

tf ^ -e- F

jX-

31

I -J r+H—so °—rr

~rr

XI t T Tf 7T

T t

-&r—0-

-p-

- © -

j r y y - HEjf**'

iz3zfc

' H§-"

_jc; — , f 3 V = S = § z

"rqr

J= r £ i zr- 12

1 9 0

E x . 2 6 7 — H a n d l : M i s s a s u p e r S a n e t a M a r i a , A g n u s D e i .

"=t ~"T~r

T j f I nz~n m

z r j e

E x . 2 6 8 — K e r l e : M i s s a p r o Defurictis, S e q u e n t i a .

E a ± E $ E

rr

4'SV-r, j S

4 - L

HZ 3 Z

id"

-e~

3 £

- r t -

32

x c

"•"1)6 "

$fc

rfT -rr X H .12 X

Ex. 269—Kerle: Missa Ut re: mi fa sol la, Kyrie.

191

^

ipy, -.

^ r ~ c ft

-4 #Le[. ' . . ' " f l . —

Toj -' Pf

— t t - — -— H

I . j.yH p •,, i. ZfLZLt'\L. |*

X E X-

*Passing tones.

H H I

Ex. 270—Lassus: Missa super Triste depart, Agnus Dei,

, I , I jmu ZE

H i —5e-TT "p 1 p

EjE -e-

f

3CC

~ T

mziE

H 2 H 12 X

1 9 2

E x . 2 7 1 — L a s s u s : M i s s a s u p e r J e s u s i s t e i n s u s s e r N a m ' , C r e d o .

E x . 2 7 2 — L a s s u s : M i s s a s u p e r I n p r i n c i p i o , K y r i e .

-H

i f

3 4 : r r c z ; ; t l Z L ^ Z 2 r t Z E

f i i n z t J2L J J -

- e -

T T ' t » P P

A . n z :

2

?

X —

i - r n m . " . : - i r

*e|-: sL>

2 1 J Z t r

193

Ex. 273—Lassus: Missa super In principio, Gloria.

. . . J -d-4 a-

-t -6- =8F Efc

k<|: r s s i

*ff j?l -^-J- J J

m J d — J J. 2E==p: -*c £± -6-

r £ x yi

m

B a •e-

S

^ t i = ±

"P

C/

Se:

o

~rE3l~

jF x ,

194

Ex. 274—Lassus: Missa super In principio, Agnus Dei.

m

:fLjJ J

71 32

WZmZa

195

Ex. 275—Palestrina: Missa Ecce sacerdos magnus, Gloria,

x- 3£ X . EL It

Ex. 276—Palestrina: Missa Ecce sacerdos magnus, Agnus Dei II.

5 5

W f -©= -iSf r r .7*

S t iSPE 5 T T? ~ © ~ tf-

m .Jjiz

ZE J. J E S

£ n r 12 12 x

196

Ex. 277—Palestrina: Missa Papae Marcelli, Credo.

,(|: j '' J [ X - g J'J JSEEEEEEf:

3T

f r f -e-

f pj r ' 5 ^

r z — . HHM I

I S SET ZZ

ZE

r -z- r ZL IE x

vx - i - IV - I

Ex. 278—Handl: Missa super Adesto dolori meo, Agnus Dei.

kJr——-jb

3Z X 32

pq=^==p

X n - X

197

Ex. 279—Lassus: Missa super Ie ne menge poinct de por eg, Agnus Dei.

-kei-T Y f f f f f t i=|-

t' Y £ m

3E -£5j-

EE I H I IE

Ex. 280—Merulo: Missa As pice Pontine, Sanctus.

£ wmm

J—J. o

-ph BE 33:

-e-

-v~ J J j L —

o

m E E m

ar*-

Z J2" 2i r k

198

Ex. _281—Monte: Missa super Anchor che bol partire. Credo.

t=3t3t ~o~—P ~fr~—p1

.&_£? ^ ^ -j.i-

X JL M

/-v

O*

Ex. 282—Palestrina: Missa Jesu, nostra redemptio, Benedictus.

-f.tr

f w- T i 1

1 j Jfc

^=.p;

I I H I I X

199

Ex. 283—Victoria: Missa quarti toni, Agnus Dei,

IEE3EEE5 u no* e1

ft,

i t s J 1J EE

5 v .|0 p 1

J m J—zJ J J -b-*—a M "HZ

- J — I JO. 2L 1 0.

JX

k m n i 3E

V - VI - XV - I

Ex. 284—Kerle: Missa Ut re me fa sol la, Gloria.

3=

W - # • -e- :££ r r r r f u rf

-J -r| 0

FT - 0 -

2 1 1 51 ffi-

200

Ex. 285—Kerle: Missa resurrexit pastor bonus, Sanctus,

— j j - 2 qJ J J -J-j-

-&• TT

TT

r r r f

"*i • .. *

- 4^ j J O 32 IE I I I I

•Idiomatic 11^ chord.

Ex. 286—Lassus: Hissa super Je suis desheritee, Credo.

ft,,,, , , , .

4- P ^ — _

{JLttiL

m ~=~-—.—-e——

7' p f f f 5H

n x

3E IE

7

201

Ex. 287—Lassus; Missa super Je suis desheritee, Agnus Dei.

k — i -T2 ~p » a f J ; " ' o f f f f P f f = f

ZZZ r < H : h

a ZE-

a 2

£

r i f e

x 3C

0 ^ r = y -

s

X ~~

W

O

•-**1 kJ

m

IV - VI - IV - I

Ex. 288—Handl: Missa super Mixolydium, Benedictus,

rL J-J-

h~w~@ *H@h

x je 21 m

202

Ex. 289—Lassus: Missa super Je suis desheritee, Sanctus.

m. a s 2 3X &~Ttq. H & ~HF~ TT 0 ' 0

vi; o

m JX -e--e-

-6--e-

ZL • * * : e = F J -

3:

h m n m JSC' X

Ex. 290-—Palestrina: Missa Ecce sacerdos fflagnus, Agnus Dei III.

f - 1 fr —Si TS'f f'3T" ^ TT^ ^3

, j$L ,3 ff J. - :*L .^jLidL

en- — r l _ j ~~U _ * _ J

i3Ju a : : :

=*=4 U X K n

Ex. 291—Palestrina: Missa Jesu, nostra redefliptio, Credo,

203

VII - X - IV - I

Ex. 292—Palestrina: Missa Ecce sacerdos magnus, Agnus Dei I.

» f I

! Ar .. cy."*,-. • •

12B, -T-ZL

f 1 — 1

' D

j»[

p r = j

...."fiC,,

|- J t

= J b = = j : --/• y r -—!•

V •

; , , j™

H M x - & X

Ex. 293—-Victoria: Missa quarti toni, Kyrie.

n jzh x m. Dorian Phrygian

204

VI - V - IV - I

Ex. 294--Handl: Missa super Transeunte Domine, Agnus Del,

I- JL E JZ' .A.

J

tp

±? J .

^ "ZT53

p j E

205

Ex. 295—Lassus: Missa ad imitationem moduli Surge propera, Benedictus.

J J J1 J1 "™Mfm

I f f -e-T

a-it£L

f=f=pP? s

IT i n am z

E S

- \Ll. 1

*"F" is considered a passing tone.

I - V - IV - I

Ex. 296—Kerle: Missa pro Defunctis, Kyrie.

e>—©

M I X- IT

206

IV - II - IV - I

Ex. 297—Kerle: Missa pro Defunctis, Agnus Dei,

• f t -

err—rr

- r -pi- , J„„cj, jj-

-17 -tr ft

-)&•

i—££

3X:

2T X ir IL :jz x

iv - v - iv - I Ex. 298-—Handl; Missa super Sancta Maria, Kyrie.

&E=EEl * -9*

yi y p7 y w «fe*cJS#s, mfew'-iw"*

*"G's" in soprano and alto are suspensions,

207

V - II - IV - I

Ex. 299—-Kerle: Miss a resurrexit pastQrb^us/ Gloria.

- & • - f t

I H

0 ^

i

208

I - II - IV - I

Ex. 300—Monte; Missa super Anchor che col partire, Benedictus.

o

E3 rgfr -

31

m==t -e-

~xr •jet

\Jr *W" j -o-

IT zr -B--m

rt

M.

H 2 1— JZ a X

V - VI - IV - I

Ex. 301—Palestrina: Missa Jesu, nostra redemptio, Kyrie.

ite=:!Z=i=r~r£d^^ —

| f - ^ *.

... _ _ J 1. _ T ~ T ~ ^

i ^ V r - 7 ^ — — — A — « ** M r ftwnmr rn^ iimm r"~~T*"5

- W " ~ ™

,/ .» 1: j r-" r M — -

ME12 n JZ £

209

VI - VII - IV - I

Ex. 302—Palestrina; Missa Jesu, nostra Agnus Dei II.

F T ; -1 •

-lF »" w i r

l i e ) | | •—&' 111—• — M — *

T T

pJ 1 '• •[-•—

I

^ 1' ' ' ' -

i ] \ • I ~D r.lib iu1".

~ j e--—iJ-M--

• ; r r r -

fl

S

0 ' ' •

I.* - e — H • -p- • I -p

r r r 1

•>-,5-- - — -L~~ M~ —'

f $ f

ET VL M

t-n-

EF

g 32=ZSrZ2E;

1

\L O —

lot

=^bF

S E K=T

:JZ ZL U

1Z

2E HZ

OT=

210

VII - V - IV - I

Ex. 303—Palestrina; SEissa' Jesu, nostra re< Gloria.

1 0 ,

r f f f "Hr

q ; > . J

7 4,, p.:

-e1 2 S

ZZ

m M W X jz.

PROGRESSIONS CONCLUDING WITH VII - I

II - I - VII - I

Ex. 304—Kerle: Missa pro Defunctis, Introit.

7 f r t •jpr jr y - -jr

5F

f=f f -pf"

mix x h i

Ex. 305—Victoria: Missa O magnum mysterium, Benedictus.

£E £ 21

j J. Jr—

iypH'-r r tf r £

-W 'ajfc f

t

±fc

4ct IPC

I 1 1 X M — X

211

212

IV - II - VII - I

Ex. 306-—Merulo: Miss a Benedicta es coelorum Regina, Sanctus.

2

f f £7 JZ:

o

-gj» f "cT

3E

TZ I E I ® I

Ex. 307—Victoria: Missa quart! toni, Sanctus,

o zt - € r ~ 3Z

I I

-jee - © •

TT

o o HSr

-0" =)QU

Do'"'®" IVI TO E 3L IE X P(i7J /an

V I I - V I - V I I - I

E x . 3 0 8 - - V i c t o r i a : M i s s a q u a r t ! t o n i , K y r i e .

2 1 3

5 ^-j» • jg-- j**-

' ^ L) ^ | ^ J Q

^ " •' 1 jry—

- f t -

- W -

r "Qv m/h 1 5 $ : £

i n i n w m m x

E x . 3 0 9 — V i c t o r i a : M i s s a q u a r t ! t o n i , B e n e d i c t u s .

" s ~ " J i i ' j L i J : w ~ i — — — — — f — _ _ — u

ffiH' - — p - y -

o °

T _ r ^ n ^

p n o - * p —

1 Q »

- f r r r r

- & — : • p i

* = T

I

I i

E f I<

2 2

1 .... , L i £ = ± — 1

M M YL m - — — — -

——p**r—< —i~j

I

214

VI - II - VII - I

Ex. 310—Monte: Missa super Anchor che col partire, Sanctus.

' L i | 1-7-m-

Y Y -p~jr

J J- J L • h 0 J—(sJ-4—

32 HI H II EH X

II - IV - VII - I

Ex. 311—Monte: Missa super Anchor che col partire, Kyrie.

/•s

i J - -J J J r

% p p

*p"iii,i8— p~

.XL

c/ 1 1 n JZ ZE 1

PROGRESSIONS INVOLVING FEWER THAN FOUR CHORDS

I - V - I

Ex. 312—Lassus: Missa super Triste depart, Credo,

-I

I U

f r f J f Iji. - jl jt p 1

r r

h H J f f i1 ^ v p, o' . ^

» .c ^ 0 J i J ri

Lydran on "8b" 1 X

Dorian on "G"

See Chapter I, p. 9 for a discussion explaining why certain examples were analyzed with just three chords.

215

216

Ex. 313—Lassus: Missa super Triste depart, Kyrie.

S

==r4-

™™5zzz2az5tMnzi=z^

1

"•p y

J JO.

T - J .

fm 3; -# 4 -e-

Lychan on "8k" I X

DofiaT) on "G" X

Ex. 314—Monte: Missa Emitte Domine, Credo.

£ d W - . X / j j mm ~f3~--W 3 S

{<i- J jjlz r-# si

1/

-J- m - # • # -

- #

Dorian niKojyaian T

217

Ex. 315—Monte: Missa super Reviens Vers moy, Sanctus

ff=$ ftr* » -9 r

f «""y -fit. -jSr & 4-4-A •& {•/ ~»j'

Dorian JL $

sd

A to t i an

Ex. 316—Monte: Missa Quaternis yocibuSr Kyrie.

- - . • • - - "• —W 0L

r f — ^ t r r

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BIBLIOGRAPHY

Books

Apel, Willi, editor, Harvard Dictionary of Music, 2nd ed ., Cambridge, Mass., Belknap Press, 1969.

, The Notation of Polyphonic Music 900-1600, Cambridge, Mass., The Medieval Academy of America, 1942.

Bukofzer, Manfred F., Studies in Medieval and Renaissance Music, New York, W. W. Norton and Co., 1950.

Casella, Alfredo, The Evolution of Music Throughout the History of the Perfect Cadence, London, J. and W. Chester, Ltd., 1924.

Christ, William and others, Materials and Structure of Music, Vol. I, Englewood Cliffs, New Jersey, Prentice-Hall, Inc., 1 9 6 6 .

Crocker, Richard L., A History of Musical Style, New York, McGraw-Hill, 1966.

Grout, Donald Jay, A History of Western Music, rev. ed., New York, W. w7 Norton and Co., 1973.

Haydon, Glen, The Evolution of the Six-Four Chord, Berkeley, Cal., University of California Press, 1933.

Jeppesen Knud, Counterpoint, translated by Glen Haydon, New York, Prentice-Hall, Inc., 1939.

, The Style of Palestrina and the Dissonance, 2nd ed., translated by Margaret W. Hamerik, London, Oxford University Press, 1946.

LaRue, Jan, Guidelines for Style Analysis, New York, W. W. Norton and Co., 1970.

Lowinsky, Edward E., Tonality and Atonality in Sixteenth Century Music, Berkeley, Cal., University of California Press, 1962.

Merritt, Arthur Tillman, Sixteenth-Century Polyphony, Cam-bridge, Mass., Harvard University Press, 1939.

219

220

Ornithoparcus, Andreas, A Compendium of Musical Practice (Musice active micrologus), 1517, reprinted, translated and edited by John Dowland (London, 1609), New York, Dover Publications, Inc., 1973.

Ottman, Robert W., Elementary Harmony, Englewood Cliffs, New Jersey, Prentice-Hall, Inc., 1970.

/

Rameau, Jean/Philippe, Treatise on Harmony (Traite de 1'har-monie reduite k ses prxncipes naturels), 1722, translated by Philip Gossett, New York, Dover Publications, Inc., 1971.

Reese, Gustave, Music in the Renaissance, New York, W. W. Norton and Co., 1940.

Reti, Rudolph, Tonality, Atonality, Pantonality, London, Rockliff, 1958.

Riemann, Hugo, History of Music Theory, translated by Raymond H. Haggh, New York, Da Capo Press, 1974.

Rubbra, Edmund, Counterpoint, London, Hutchinson University Library, 1960.

Schoenberg, Arnold, Structural Functions of Harmony, rev. ed., edited by Leonard Stein, New York, W. W. Norton and Co., 1969.

Scott, Samuel, The Sacred Vocal Counterpoint of the Sixteenth Century, Denton, Texas, published by the author, 1971.

Shirlaw, Matthew, The Theory of Harmony, 2nd ed., DeKalb, Illinois, Dr. Rxchard Coar, 1955.

Soderlund, Gustave Fredric, Direct Approach to Counterpoint, New York, F. S. Crofts and Co., 1947.

Yasser, Joseph, A Theory of Evolving Tonality, New York, American LiFrary of Musicology, 1932.

Zarlino, Gioseffo, The Art of Counterpoint, Part III of Le Istitutioni harmoniche (Venice, 1558), translated by Guy A. Marco and Claude V. Palisca, New Haven, Conn., Yale University Press, 1968.

, Le Istitutioni harmoniche (Venice, 1558), reprinted, New York, Broude Brothers, 1965.

221

Articles

Bush, Helen E., "The Recognition of Chordal Formation by Early Music Theorists," Musical Quarterly, XXXII (April, 1946), 227-243.

Crocker, Richard L., "Discant, Counterpoint, and Harmony," American Musicological Society Journal, XV (Spring, 1962), 1-21.

Fox, Charles Warren, "Non-Quartal Harmony in the Renaissance," Musical Quarterly, XXXI (January, 1945), 33-53.

Haar, James, "False Relations and Chromaticism in Sixteenth-Century Music," American Musicological Society Journal, XXX (Fall, 1977), 391-415.

Kinkeldey, Otto, "The Harmonic Sense: Its History and Destiny," Music Teacher National Association Proceedings, XVIII (June, 1923), 9-27.

Leichtentritt, Hugo, "Harmonic Daring in the Sixteenth Century," Modern Music, V, No. 1 (November-December, 1927), 12-21.

Lester, Joel, "Root-Position and Inverted Triads in Theory Around 1600," American Musicological Society Journal, XXVII (Spring, 1974), 110-119.

Palisca, Claude V., "Vincenzo Galilei's Counterpoint Treatise," American Musicological Society Journal, IX (Summer, 1956), 81-96.

Wienpahl, Robert W., "The Evolutionary Significance of Fif-teenth Century Cadential Formulae," Journal of Music Theory, IV (November, 1960), 131-152.

, "Modal Usage in Masses of the Fifteenth Century," American Musicological Society Journal, V (Spring, 1952), 37-52.

, "Zarlino, the Senario, and Tonality," American Musicological Society Journal, XII (Spring, 1959), 27-41.

222

Unpublished Materials

Berquist, Ed Peter, "The Theoretical Writings of Pietro Aaron," unpublished doctoral dissertation, Columbia University, New York, 1934.

Dowden, Ralph, "The Harmonic Interval of the Seventh in the Works of Representative Composers of Italian Madrigals, 1542-1614," unpublished doctoral dissertation, North Texas State University, Denton, Texas, 1976.

Haigh, Andrew C., "The Harmony of Palestrina," unpublished doctoral dissertation, Harvard University, Cambridge, Mass., 1946.

Hannas, Ruth, "Evolution of Harmonic Consciousness: A Study of Pre-Eighteenth Century Practices," unpublished doc-toral dissertation, Eastman School of Music, University of Rochester, New York, 1934.

Palisca, Claude V., "The Beginnings of Baroque Music; Its Roots in Sixteenth Century Theory and Polemics," unpub-lished doctoral dissertation, Harvard University, Cam-bridge, Mass., 1953.

Rogers, Helen, "The Development of a Concept of Modulation in Theory from the Sixteenth to the Early Eighteenth Century," unpublished doctoral dissertation, Indiana University, Bloomington, Indiana, 1955.

Music # #

Gallus, Jacobus, Denkmaler der Tonkunst in Osterreich, edited by Paul Amadeus Pisk, Graz/Wien, Akademische Druck-u. Verlagsanstalt, 1969.

Kerle, Jacobus de, Tresor Musical, edited and transcribed by R. J. van Maldeghem, Vaduz, Liechtenstein, Kraus Reprint Ltd., 1965.

Lassus, Orland de, Samtliche Werke, ed. by Franz Xaver Haberl, Leipzig, Breitkopf and Hartel, 1894-1926.

Merulo, Claudio, Musica Sacra, ed. by James Bastian, American Institute of Musicology, vols. I, II, 1970.

Monte, Philippe de, Opera omnia, ed. by Rene Bernard Lenaerts, Leuven, Leuven University Press, 1975.

223

Palestrina, Giovanni Pierluigi da, Le Opere Complete, ed. by Raffaele Casimiro Casimiri, Knud Jeppesen, Lino Bianchi, Rome, Fratelli Scalera, 1939.

Victoria, Tomas Luis de, Opera omnia, ed. by Felipe Pedrell, Leipzig, Breitkopf and Hartel, 1902-1913.