view classical/petrus/annun.krn @ 2:1e94d64e1d9e tip

Many fixes to remove spurious notes, correct time signatures and clefs. Still some problems remain.

!!!COA: Petrus de Cruce; Pierre de la Croix
!!!OTL: Motet: Aucun - Lonc tans - Aunnuntiantes
!!!CDT: <1270///->1300///
!!!CNT: France
!!!AGN: "Petronian" motet
**kern	**kern	**kern
*Ivox	*Ivox	*Ivox
*k[]	*k[]	*k[]
*M3/4	*M3/4	*M3/4
*MM80	*MM80	*MM80
2.F	2c	12f
.	.	6f
.	.	12e
.	.	12d
.	.	12c
.	12c	12f
.	12B	12f
.	12c	12f
=2	=2	=2
2.A	2A	12e
.	.	6c
.	.	20e
.	.	20d
.	.	20e
.	.	20d
.	.	20e
.	4c	12e
.	.	6f
=3	=3	=3
2.G	2d	2g
.	4e	4r
=4	=4	=
2.r	2f	12f
.	.	6d
.	.	4f
.	12f	24g
.	.	24f
.	12e	24g
.	.	24f
.	12d	24e
.	.	24f
=5	=5	=
2.c	[2c	12g
.	.	6g
.	.	4g
.	4c]	4e
=6	=6	=4
2.B	2.r	12f#
.	.	6d
.	.	12f#
.	.	6g
.	.	12f
.	.	12e
.	.	12d
=7	=7	=
2.c	4g	2c
.	4g	.
.	12g	4r
.	12f	.
.	12e	.
=8	=8	=5
2.r	2d	12d
.	.	6f
.	.	4a
.	12c	4g
.	6d	.
=9	=9	=6
2.A	2e	12e
.	.	6c
.	.	4e
.	12d	12c
.	6e	12B
.	.	12A
=10	=10	=7
2.F	2f	12c
.	.	6c
.	.	12d
.	.	12c
.	.	12B
.	4e	4c
=11	=11	=8
2.G	[2d	2d
.	4d]	4r
=12	=12	=9
2.r	2.r	12e
.	.	6f
.	.	4e
.	.	28f
.	.	28e
.	.	28f
.	.	28g
.	.	28f
.	.	28e
.	.	28d
=13	=13	=
2.F	2c	12f
.	.	12f
.	.	12f
.	.	4f
.	4c	4e
=14	=14	=10
2.G	2B	12f
.	.	12e
.	.	12d
.	.	4c
.	4B	12d
.	.	12c
.	.	12d
=15	=15	=
2.A	2A	4e
.	.	4e
.	4B	4f
=16	=16	=
2.r	4c	12g
.	.	6f
.	4B	4g
.	4c	12f
.	.	12e
.	.	12d
=17	=17	=
2.G	2d	2d
.	4r	4r
=18	=18	=
2.A	2.r	12a
.	.	6a
.	.	4e
.	.	12a
.	.	12b
.	.	12a
=19	=19	=
2.c	2c	4g
.	.	20g
.	.	20f
.	.	20g
.	.	20f
.	.	20g
.	4d	12e
.	.	6f
=20	=20	=13
2.r	2B	12e
.	.	12d
.	.	12c
.	.	4d
.	4A	12e
.	.	6e
=21	=21	=
2.d	[2G	12g
.	.	6a
.	.	4g
.	4G]	4f
=22	=22	=14
2.c	2c	2g
.	4e	4r
=23	=23	=15
2.c	2g	12c
.	.	6c
.	.	4c
.	4f	12d
.	.	6d
=24	=24	=16
2.r	2e	4e
.	.	4A
.	4d	12d
.	.	12c
.	.	12B
=25	=25	=17
2.A	[2e	4A
.	.	4e
.	4e]	12A
.	.	6A
=26	=26	=18
2.F	[2f	12c
.	.	12c
.	.	12c
.	.	12d
.	.	12c
.	.	12B
.	6f]	4c
.	12e	.
=27	=27	=19
2.G	[2d	2d
.	4d]	4r
=28	=28	=20
2.r	2.r	12e
.	.	6e
.	.	4g
.	.	20g
.	.	20f
.	.	20g
.	.	20f
.	.	20g
=29	=29	=21
2.A	2e	6a
.	.	12b
.	.	6a
.	.	12g
.	4f	12f
.	.	12e
.	.	12f
=30	=30	=
2.G	2g	4d
.	.	4c
.	4f	4d
=31	=31	=
2.A	2e	12e
.	.	6A
.	.	4e
.	4d	4f
=32	=32	=
2.r	12e	12f
.	6d	12e
.	.	12d
.	4e	4e
.	12e	4f
.	12d	.
.	12c	.
=33	=33	=
2.G	[2d	2g
.	4d]	4r
=34	=34	=
2.G	[2B	12c
.	.	6c
.	.	4d
.	4B]	4e
=35	=35	=
2.F	[2c	4f
.	.	12e
.	.	12d
.	.	12c
.	4c]	12f
.	.	6f
=36	=36	=24
2.r	2.r	12f
.	.	6f
.	.	4e
.	.	12f
.	.	12e
.	.	12d
=37	=37	=25
2.F	[2f	2c
.	4f]	4r
=38	=38	=26
2.A	2e	12a
.	.	6a
.	.	4e
.	12e	12f#
.	12d	6f#
.	12c	.
=39	=39	=27
2.G	[2d	12g
.	.	6g
.	.	4g
.	4d]	4f#
=40	=40	=28
2.c	[2c	4g
.	.	12a
.	.	12b
.	.	12a
.	4c]	4g
=41	=41	=29
2.B	[2d	12f#
.	.	6f#
.	.	4e
.	4d]	4f#
=42	=42	=30
2.c	2c	2g
.	4d	4r
=43	=43	=31
2.A	2e	4e
.	.	12c
.	.	12B
.	.	12c
.	12d	12A
.	6e	6B
=44	=44	=32
2.F	2f	4c
.	.	4B
.	4e	4c
=45	=45	=33
2.G	2d	4d
.	.	12c
.	.	12B
.	.	12A
.	12e	4B
.	12d	.
.	12e	.
=46	=46	=34
2.F	[2c	4c
.	.	4f
.	4c]	4e
=47	=47	=35
2.G	[2B	4d
.	.	4c
.	4B]	4d
=48	=48	=36
2.A	[2A	2e
.	4A]	4r
=49	=49	=37
2.G	2.r	12g
.	.	6a
.	.	4g
.	.	4f
=50	=50	=38
2.A	2e	4e
.	.	4e
.	4d	4f
=51	=51	=39
2.c	[2c	2g
.	4c]	4r
=52	=52	=40
2.d	[2B	4f#
.	.	4e
.	4B]	4f#
=53	=53	=41
2.c	2c	12g
.	.	6g
.	.	4g
.	4c	4e
=54	=54	=42
2.c	2g	4c
.	.	4c
.	4g	4d
=55	=55	=43
2.A	2a	4e
.	.	20c
.	.	20B
.	.	20c
.	.	20B
.	.	20c
.	4g	4A
=56	=56	=44
2.F	2f	12c
.	.	6c
.	.	12d
.	.	12c
.	.	12B
.	4e	4c
=57	=57	=
2.G	[2d	2d
.	4d]	4r
=58	=58	=45
2.A	2c#	12e
.	.	6e
.	.	2f#
.	4r	.
=59	=59	=46
2.G	4d	12g
.	.	6g
.	4e	12fn
.	.	12e
.	.	12f
.	4f	4d
=60	=60	=47
2.A	[4e	12e
.	.	12d
.	.	12e
.	6e]	4c
.	12f	.
.	12e	12e
.	12d	6e
.	12c	.
=61	=61	=48
2.G	[2d	12g
.	.	6g
.	.	6g
.	.	12f
.	6d]	4e
.	12c	.
=62	=62	=49
2.G	[2B	12d
.	.	6c
.	.	4d
.	4B]	4e
=63	=63	=50
2.F	[2c	[2f
.	4c]	4f]
==	=	==
*-	*-	*-
!!!ONB1: This motet is in Petronian or late 13th-century style (although it may
!!!ONB2: not be by Petrus de Cruce), but it is the style that came AFTER the 
!!!ONB3: second or Franconian style of the mid-13th century 
!!!ONB4: The Tenor repeats it melody, mm. 1-20 = mm. 21-40, providing a 
!!!ONB5: structure or underlying form.
!!!ONB6: The Triplum, similar to a patter song, and the Motetus are quite
!!!ONB7: contrasting in rhythmic movement and do not often begin or end phrases
!!!ONB8: together, in the constant movement that is motet typical texture.
!!!ONB9: The final cadence has to consider the Tenor's small e, the Motetus'
!!!ONB10: small g, and, take you pick, the Triplum' small b (probably) to arrive
!!!ONB11: at a chord, c-g-b, on the second degree of the mode, going to the
!!!ONB12: usual open final chord with no third. Of course one could consider
!!!ONB13: the last note in the Triplum, one-line c, making the chord of
!!!ONB14: c-e-g in first inversion, and thus the more normal VII6 to I
!!!ONB15: (no 3rd). Take your choice. The mode has to be Dorian (Tenor and
!!!ONB16: Motetus) and Hypodorian (Triplum). The g# in m. 31 is accidental
!!!ONB17: (?) and the f# is an editorial suggestion of what the singers might
!!!ONB18: have sung according to some rule of Musica ficta. 
!!!ONB19: --Robert D. Reynolds