Missa Papae Marcelli: A Comparative Analysis of the Kyrie and Gloria Movements of Giovanni Pierluigi da Palestrina and an Adaptation by Giovanni Francesco Anerio Page: 17
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The second duet also pairs two voices with the first entrance, dux 1, on {D} and the
second entrance, dux 2, on {G}. Bassus I maintains the same melodic shape presented by the
Bassus II in mm. 2-5, but, because of its displaced position in measure 5, its phrase ends in
measure 8b forming a tenorizans pattern with the Altus. The comes 2 is presented in the Altus
utilizes only the text rhythm setting of Kyrie in its imitation; however, it maintains the cantizans
pattern on { G} in m. 8 and continues with a motion to the third chord tone in m. 9. In addition to
these four structural voices, Cantus displays an extended line of new material that also comes to
rest with a cantizans pattern on {C} in m. 9. The arrival of the perfect [C] cadence serves as a
tonal correction from the previous cadence on the co-final in m. 5.
The third statement of the text, shown in example 3, is presented in two duets again, but
dux I begins with {G} and is answered by {C}, a fifth below, rather than at the unison like the
initial statement. The first duet starts on {G} in Tenor II, dux 1, and includes a melodic
alteration that outlines a descending triadic outline. Bassus I, comes 1, imitates this line a fifth
below on {C}. Bassus II, dux 2, is the first voice that carries the initial subject transposed down
a fifth to { C} from its original beginning pitch { G}; all other voices employ new material, except
the rising fourth motion in Cantus that echoes the motive.17
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Moore, Michael J. Missa Papae Marcelli: A Comparative Analysis of the Kyrie and Gloria Movements of Giovanni Pierluigi da Palestrina and an Adaptation by Giovanni Francesco Anerio, thesis, May 2006; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc5257/m1/23/: accessed May 8, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .