Society for Music Theory

A Lesson from Lassus: Form in the Duos of 1577

Author(s): Peter N. Schubert
Source: Music Theory Spectrum, Vol. 17, No. 1 (Spring, 1995), pp. 1-26
Published by: {oupl} on behalf of the Society for Music Theory
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 A Lesson from Lassus: Form in the Duos of 1577

Peter N. Schubert

When Lassus expressed the hope that his twenty-four little ted duos (Nos. 1-12, hereafter called motets) can be found
duos might "in the future be of great benefit and training as in many anthologies and counterpoint textbooks, while the
much to beginning musicians as to those more skilled in their pieces without text (Nos. 13-24, hereafter called ricercars
art," he could hardly have predicted just what a great future are well known among instrumentalists. While their place as
they would have.' They were reprinted often in the decades etudes and examples of two-part counterpoint is secure, we
following their first publication, and are now among the best-may still ask what they provide to those "more skilled in their
known examples of Renaissance polyphony.2 The twelve tex- art." This study demonstrates that in these pieces Lassus is
giving a lesson on the one aspect of Renaissance music whose
omission from treatises most frustrates present-day analysts:
1The quote is from the dedication to the original edition, in Orlando di form.
Lasso, Samtliche Werke, ed. Franz Xaver Haberl (Leipzig: Breitkopf & Hir-
Treatises teach how to make a theme suitable for each of
tel, 1894; facsimile, New York: Broude Bros., 1973), vol. 1, x: "tam Musices
tyronibus, quam eius artis peritioribus magno usui & exercito sint futuri." All the various modes, how to treat consonance and dissonance,
examples in this article are based on this edition. The original full title of the how to imitate or invert a theme, on which notes to make
collection expresses the same pedagogical aim: Novae aliquot et ante hac non cadences, and how to write double counterpoint.3 But they
ita usitate ad duas voces cantiones suavissimae, omnibus musicis summe utiles:
never tell us when in the course of a piece these devices and
necnon tyronibus quam eius artis peritioribus summopere inservientes
(Miinchen: Adam Berg, 1577).
2RISM 1577c lists nine editions through 1610 (Einzeldriicke vor 1800, more on didactic duos in general, see Paolo Emilio Carapezza's introductio
Repertoire international des sources musicales, vol. 5, ed. Karlheinz Schlagerto Musiche Rinascimentali Siciliane, vol. 2 (Rome: Edizioni de Santis, 1971
[Kassel: Barenreiter, 1975], 274). The duos were first called motets and ricer- 3The dissonance treatment in the duos suggests a restrained, formal style
cars in the 1579 edition, Motetti ed ricercari ... a due voci (Venice: Angelo There is only one dissonant lower neighbor at the semiminim level (No.
Gardano, 1579); RISM 1579c. Wolfgang Boetticher lists didactic works in m. 29). There are no dissonant third semiminims against semibreves, and no
which some duos were reprinted in "Eine franzosische Bicinien-Ausgabe als dissonant cambiatas, echapp6es, or 9-8 suspensions. (Note values in all of
frtihmonodisches Dokument," in Festschrift Karl Gustav Fellerer zum sechzig- the examples presented here are original.) Lassus's treatment of dissonan
sten Geburtstag, ed. Heinrich Htischen (Regensburg: Gustav Bosse Verlag, is more restricted than that expressed in Part 3 of Zarlino's Le Istitutio
1962), 67-76. The twelve texted pieces can be found in modern clefs, and harmoniche (Venice, 1558; facsimile, New York: Broude Bros., 1965; trans
with translations, in Gustave Frederic Soderlund and Samuel H. Scott, Ex- lation by Guy Marco and Claude Palisca as The Art of Counterpoint [New
amples of Gregorian Chant and Other Sacred Music of the 16th Century Haven: Yale University Press, 1968]), where dissonant lower neighbors an
(Englewood Cliffs: Prentice-Hall, 1971), and selections can be found in manyechappees are allowed. The cadences conform largely to Zarlino's prescri
other anthologies. For more comment on these duos see Wolfgang Boetticher, tions in Istitutioni, Part 4, translated by Vered Cohen as On The Modes (New
Orlando di Lasso und seine Zeit (Kassel: Barenreiter, 1958), 460-67. For Haven: Yale University Press, 1983).

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2 Music Theory Spectrum

techniques should be used. Each seems to be a detail; on the niques as given below were inspired by and are largely con-
relation of these details to large-scale form the theorists are sonant with, but are not limited to, ideas found in several
mute. The following close examination of the duos shows how roughly contemporaneous Italian treatises.
three contrapuntal features are used by Lassus in a way that The three contrapuntal features associated with formal
consistently articulates form.4 The descriptions of these tech- structure are: 1) time interval of imitation, 2) fuga, or means
of melodic variation, and 3) varied repetition of entire con-
trapuntal "blocks." These features can be labeled in the score
4An attempt to define large-scale structure in the Lassus duos has been
of each piece, and then the labels can be strung along a time
made by Lyle Davidson in "The Structure of Lassus' Motets a2 (1577)," Sonus
USA 2 (1982): 71-90. Davidson asks many of the same questions asked here, line along with the cadences. The time line is like a cast made
but uses different methods (e.g., experiments in perception) to answer them. from a wax positive; all the notes of the piece melt away as
He concludes that large-scale durations are organized according to the Fi- in the "lost wax" technique, and a clear outline of the piece's
bonacci series. For a wide-ranging study of Lassus's techniques, see Lucie structure remains. The time lines reveal norms, as well as
Balmer, Orlando di Lassos Motetten (Bern and Leipzig: Paul Haupt, 1938;
some striking exceptions, for Lassus's compositional tech-
facsimile, Nendeln, Liechtenstein: Kraus Reprint, 1978).
For studies of large-scale form in terms of structures created from parallel nique. Among his norms, Lassus maintains consistency
groups of durations, see Michele Fromson, "A Conjunction of Rhetoric and through relatively long stretches of music by retaining a single
Music: Structural Modelling in the Italian Counter-Reformation Motet," time-interval of imitation; he employs certain types of fuga
Journal of the Royal Music Association 117 no. 2 (1992): 208-46; Jean-Michel (e.g., imitation at the sixth or inversion) to provide variety
Vaccaro, "Anthoine de Bertrand: Las! pour vous trop aymer," in Music Be-
in the middles of pieces; and he uses invertible counterpoint
fore 1600, Models of Musical Analysis, ed. Mark Everist (Oxford: Blackwell
to create brief ritornellos.
Reference, 1992); and Pierre-Paul Lacas, liner notes to "Orlande de Lassus
Moduli Quinque Vocibus 1571" performed by the Collegium Vocale & In doing such analyses, sections are demarcated in the
Solistes du Knabenchor Hannover, conducted by Philippe Herreweghe (n.p.: traditional way, on the basis of cadences. So the first step in
Astr6e, Atelier de Recherche Valois, 1979). Christopher Reynolds's "Mu- the analytic process is the identification of cadences. Lassus's
sical Evidence of Compositional Planning in the Renaissance: Josquin's Plus
use of cadences is so consistent that their definition is, hap-
nulz regretz," Journal of the American Musicological Society 40 (1987): 53-81,
is the only recent study that invokes both contrapuntal technique (canon) as pily, fairly simple: the defining elements are a 7-6 or 2-3
a large-scale structural element along with durational structures and recur- syncopated semibreve suspension with at least one voice re-
rence of varied themes; see his note 3 for a list of other authors, going back solving to the expected goal note, whose duration must be
to van Crevel and Gombosi, who deal in proportional durations. at least a semibreve. A few exceptions arise in the ricercars
Other studies investigating contrapuntal combination have not been so
much concerned with its contribution to form. Quentin Quereau refers to it
because of their shorter note values. Here, the syncopated
as a "complex of relationships" in "Sixteenth-Century Parody: An Approach note can be a semibreve, and the goal note can be only a
to Analysis," Journal of the American Musicological Society 31 (1978): 407-
41. Jessie Ann Owens has identified "contrapuntal events" or "modules" in
"The Milan Partbooks: Evidence of Cipriano de Rore's Compositional Pro-
cess," Journal of the American Musicological Society 37 (1984): 270-98. Jo- refer in passing to time-interval of imitation, but do not employ this analytical
seph Kerman used contrapuntal combination as an element in his concept of tool systematically. Indeed, some authors deny that contrapuntal techniques
"cell construction" in "Old and New in Byrd's Cantiones Sacrae," in Essays influence form; see Bonnie Blackburn, "On Compositional Process in the
on Opera and English Music, ed. F. W. Sternfeld, (Oxford, 1975). Both Fifteenth Century," Journal of the American Musicological Society 40 (1987):
Kerman and Reynolds ("Musical Evidence of Compositional Planning") also 274-78.

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 A Lesson from Lassus 3

semibreve.5 The second step is the labeling of the threeTIME

con-INTERVAL OF IMITATION

trapuntal features in the motets and ricercars. A score to No.

6 ("Qui sequitur me"), appears so labeled in Appendix 1. TheVery little of Lassus's melodic material in the
third step is to string the labels along time lines. Appendix
not repeated, and for the most part melodic ma
2 presents the resulting schematic formal analyses of
in all
imitation. Many long imitative segments are in
twenty-four pieces. The one fully annotated score and the
canonic, because every note in the following vo
presence of similar notations on many musical examplessequent,
will can be said to be determined by a note i
enable the reader to verify the methods by which the sche-
voice, or guide.7 The canon (i.e., rule) by wh
matic analyses were derived. Note that treating both motets
determines the consequent has two aspects: t
and ricercars the same way means disregarding for the melodic
mo- variation (such as transposition or invers
ment the impact of text on form; that subject is takentimeup interval of imitation. We must say quasi-ca
briefly at the end of this study. Lassus often alters one of the two aspects of
From the schemas we can draw conclusions about the style
In the musical examples presented here, the t
of the set of pieces in general and about the behaviorof of
imitation is indicated by a note value above t
individual pieces. In addition to answering questions A
about
dotted line connects the first note of the them
structural norms for beginnings, middles, and ends, the with
sche- the first note of the corresponding theme
mas provide data to answer questions such as: How do the
sequent. After a dotted line, it is assumed that
ricercars differ from the motets? In what ways does text in-guide has a corresponding note in the conse
the
fluence form? Do large-scale features replicate small-scale
by the time interval of imitation until some chan
ones? How do contrapuntal techniques contribute to effects
(indicated with X, shading, or a new dotted l
of tension and release? How do contrapuntal techniques Imitation
in- creates a strong sense of periodicity i
teract with modal shifts?6
are phrased in lengths that are equal to (or are
the time interval of imitation. In the opening o
instance, rests articulate two-breve phrases with
Because the time interval of imitation is a breve,
on every downbeat in mm. 3-8, articulating reg
5Another cadence-like figure appears a few times. It consists of a resolving
length periods. This sense of periodicity is fairl
leading tone in the lower voice while the upper voice holds a fifth above the
it depends on features of the composed music a
goal note (see No. 3, mm. 8-9 and No. 10, m. 26). Even though this figure
sometimes occurs at textual completions in the motets (the same intervalmapped onto the time lines in the way that abs
succession appears inverted in No. 2, mm. 16-17), it is not considered acan.
sectional marker in this study. Even if it were, its presence would not sig- The time interval of imitation can chang
nificantly skew the results.
First, notes (or durational parts of notes) ca
6Harold S. Powers shows that Lassus's 1577 collection is organized by
mode in "Tonal Types and Modal Categories in Renaissance Polyphony,"
one voice but not echoed in the other; such
Journal of the American Musicological Society 34 (1981): 451-52. Powers's
modal assignments for the pieces is the point of departure for modal as- 7The terms guide and consequent are cognates of t
signments in the present study. consequente as used in Zarlino's Istitutioni, Part 3, Ch

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4 Music Theory Spectrum

Example 1. No. 2, mm. 17-24: reductions in the time interval of imitation

0 ~ ~ ~ d rhythmic
unison

l f- -f J - ' j 7 r r7 Cf r?er " ? iI 'f

+3, / - fa-fa

ir r fa-f ( "( ) r r rr-r 'r-

fa-fa fa-fa E

Example 2. No.

Ir 16 17 18

I+5 inv i . +5
, +5 '+-3 /+8 +1' \-3 4 \-5
a/ / '\
j J a rb) r d)
a) b) c) d)

parentheses
terpartin
but notof
in imit
the
shortenasas the
at d
up. The new
Conver t
minus the
to com
the
imitation
No. begin
6,
note but in
value thet
measure, the
appear i
shortened not
Second
ininto
imitation one r
in No. 6
In (App
this
semibreve
(as beg
at b
value of
in the
No. F
in m. not
11) is sh
no
at "-in." If
plainedthe

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 A Lesson from Lassus 5

set of pieces where the differentiation between guide

andand
consequent cannot be assigned.9 A melodic fragment
consequent is truly ambiguous.8 repeated and accompanied by the same countermelody con-
Imitation breaks off in two locations in these pieces: at a block, a topic to be discussed later.
stitutes
cadences and elsewhere. Approaching a cadence, imitation In a non-canonic fantasy, multiple immediate repetitions
is usually abandoned. This has the effect of disrupting
of athe
short theme are presented with rhythmic variation and
periodicity of the time interval, and it may set up the sixths
with irregularities in guide-consequent relations. Example 4
(or thirds) that initiate the cadential voice leading. shows
In thepart of a non-canonic fantasy on a seven-note theme
analyses here, free counterpoint approaching a cadence is
(bracketed at each occurrence) with typical rhythmic varia-
indicated by shaded areas. tion and free counterpoint.10 When such fantasies are indi-
Free counterpoint not approaching a cadence is indicated
cated in the schemas in Appendix 2, the solmization syllables
by "X." This is usually a matter of each voice going its of
own
the theme are given along with the number of times the
way, sounding its own material for a short while. Breaking
theme is sounded. Some sections containing multiple repe-
titions of a theme, as in No. 18, mm. 14-19, are not called
out of imitation may lead to a new time interval or leading
voice (as in No. 8, m. 21), or it may briefly interrupt two
non-canonic fantasies because the theme is not varied rhyth-
adjacent sections having the same time interval (as in No. 18, and because the guide-consequent relationship is con-
mically
m. 27). Sometimes shorter segments of free counterpoint sistent. (A similar example in a motet occurs in No. 11, mm.
serve as substitutes for cadences, as discussed below. 17-21.)
Of the relatively infrequent longer non-imitative sections, An ambiguous example is shown in Example 5. In mm.
two types predominate: one type is based on a single melodic 1-9 the four-note solmization theme, repeated nine times,
fragment; the other type is dubbed a non-canonic fantasy. is not varied rhythmically except for the conventional re-
These differ from the imitative sections in that the ongoing moval of half of the first semibreve (solmization themes
development of the guide and the regular relationship be- are discussed below under inganno).1 Of the three fantasies
tween guide and consequent are broken.
There are two ways a single melodic fragment can be set: 9Cf. the discussion of ostinato in Balmer, Orlando di Lassos Motetten,
in one, the fragment is repeated in one voice against different 198ff.

counterpoints in the other (as in Example 3a, where resulting '0The contrapuntal intention here is held to outweigh the function of
different vertical intervals are labeled); in the other, the frag- cadences to demarcate sections, so cadences within fantasies (like that in m.
37 of Example 4) do not figure in the schemas in Appendix 2. Intervallic
ment is repeated in a different voice against a different coun-
variation, like that found in Example 4 at the asterisks, is the subject of the
termelody not participating in imitation (as in Example 3b). next section of this study.
This type appears to resemble imitation in that a theme is "This convention is more common in the motets than the ricercars, and
echoed in another voice, but differs in that the roles of guide may be present in order to let a singer breathe. An important example is No.
6 in Appendix 1, mm. 17 and 18. The "normal" form of the subject is a
semibreve on "sed," but the lower voice has a minim rest and a minim in m.
17; the bracket assimilates the rest to the note. This same principle allows
us to assimilate an extra minim to the first note in the lower voice at the
8An example of a situation susceptible of several interpretations occurs beginning of No. 6 (on "Qui"), shown with a bracket. Lassus no doubt did
in No. 19, mm. 17-20. not want the very beginning of No. 6 to sound the semibreve-level syncopation

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6 Music Theory Spectrum

Example 3. Two types of single-melodic-fragment settings

a. No. 15, mm. 15-16

656 5 10 8 5 58 5 3 5 8 3 5

b. No. 21, mm. 41-43

"I

n?: d i i I r F \ ' --
III
fragment fragment

I1R I I i r 1
m7 7=; I 77Lo-, I I

sections)
contained among the ricercars, this one offers are transcribed
the most temp- onto time lines, patterns in Lassus'
tation to label as a straightforward imitation (as has
constructions been
emerge. One turns out to be a stylistic norm fo
done hypothetically in Example 5). However, thea whole
closeset of pieces: it may be called the acceleration
reading
of the construction of this passage reveals unusually model. frequent
intrusions of free counterpoint (indicated byThe Xs). acceleration
This, cou-
model is based on the gradual shortening
pled with the obsessive repetition of the theme of the time
over interval
a rel-of imitation on both the large and the
atively long period, characterize this sectionsmall scale. The
overall as small scale consists of sections between ca-
a non-
imitative fantasy. While the following measures dences, within(10ff.)
which the time interval becomes progressi
contain the same theme in diminished values, the The
shorter. interrup-
speeding up is not always uniform, but caden
tions cease, and because both the rhythm of arethe
most theme
often immediately
and preceded by the closest stre
various time intervals are maintained, these measures are of a given section. Note that the acceleration model has no
characterized as imitative. ing to do with the rate of rhythmic activity within a single
only with the length of time separating corresponding n
When the note values (indicating time intervals of imita-
in the two lines.
tion) and the Xs and hatched areas (indicating non-imitative
Table 1 shows the successive time intervals of imitation for
that would have resulted from a time interval of imitation shorter than a all twenty-four duos. Vertical lines indicate cadences and de-
semibreve. marcate sections. Asterisks show shorter values followed by

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 A Lesson from Lassus 7

Example 4. No. 23, mm. 33-39: a non-canonic fantasy

33

,I- r'I~~ r1~~~ I r~ * I ~ I~ ' (etc.)

- r i Rjjj j _I-^r_ t r f r r r Or J F Ta
I- II I I I I
* [eF

Example 5. No. 20, m

H = hard hexachord; S = soft hexachord
0 0

H N H
Ire rere fare re fa

8 f f - J r r o
x

4): r rr- rr Trr A

fa

longer values, which are deviations from the norm. These

Three of the deviations, all occurring in the third sections of
occur in 15 out of 58 successions of adjacent time-interval
motets (bracketed in Table 1) can be accounted for by an-
other
values (disregarding Xs) in the motets, and 19 out of 86 formal
in model that conflicts with the acceleration model,
as discussed
the ricercars, or about 24% overall. Nothing is entered for below.
duo No. 23 because it contains no imitation as defined here, The large scale is defined here by those time interval
consisting instead entirely of repeated blocks and a fantasy. imitation that begin each section. Table 2 collects these,

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8 Music Theory Spectrum

Table 1. Time intervals of imitation within sections. Asterisks mark a longer value following a shorter value. Non-imitative material
approaching cadences is not shown. Other non-imitative phrases within sections are shown with X.

Duo No. First Section Second Section Third Section Fourth (& Fifth) Section(s)

Io J ,J * o J *o
2 X XoJ o
3 - o 0o ,o ) X o J,
x4' MXo
~~~~41 0 o

76
m- X
* o J
o X
7 ~xJ oJ* o*#oXJ
81 0 o X *O
9 o *M X o *oJ J
1o x . *oXo x J x*
11 0o* oJ*H Xm

12' X m X o ,? l X * o X g,
13 *o X o oJ Jx* xJ o * xJxJxJ
142 J xx* J
52 J X -x o *o o *o x*oJX* J
16 oXo0
17 HXooJJ J JJ
18 O O X O a*J J *J J*
19 M o * J X*o J*o o J J

202 oJ X J J J*J X J
213 o J 0 o*xxP i i X J x
22 = o
23 1,2

24 J oJ*oXo o0 X 1

1Duos Nos. 8, 12 and 23 begin not with im

the leftmost columns for these duos. No.
2The non-canonic fantasies at the beginni
3In the triple mensuration section of No.

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 A Lesson from Lassus 9

similar
Table 2. Time intervals of imitation at the beginnings of sections. v
because
Asterisks show a longer value following a shorter one. (Each row i
below contains only the leftmost note value from each of more
the cons
columns in Table 1.) with aster
the best e
1 m o0* M model, ea
Comparis
2 0 o
the ricercars overall contain shorter time intervals: imitation
3 0' o at the semiminim occurs only once in the motets, as opposed
4 0 to 36 times in the ricercars; imitation at the fusa never occurs
in the motets, but appears 4 times in the ricercars. This is
5 0- o*M
consistent with the greater use of short note values in the
6
6 G*m o ricercars. Also, non-canonic fantasy sections occur only in the
7 O O0 ricercars. This may be due to the fact that rhythmic variation
is a characteristic of fantasy; if it were used in motets, it might
8 0 0 0
well mutilate the text setting. For instance, the rests in mid-
9 0 0 J theme in Example 4 might break up words. The norms for
10 m- o rate of change of time interval of imitation help confirm the
11
decision to identify Example 5 as a fantasy, since it has an
unusually large number of intrusions of Xs. Appendix 2 shows
12 o o0 clearly that no other opening section has that many inter-
ruptions of imitation; indeed, only two duos have any Xs at
13 0 a o o
all in their opening sections (Nos. 2 and 20 have one each).
14
In addition to helping to establish norms, the schemas in
15 * o o Appendix 2 reveal some features specific to individual pieces.
For instance, in No. 17 the first three sections get progres-
16 o 0
sively shorter, as do the stretches of free material leading to
17 0 o the first three cadences, so that these durations participate in
18 o 0 the acceleration model. Another striking use of time interval
of imitation as a structuring device is seen in No. 6, where
19 o
the time intervals form a palindrome: J o J J o d. This
20 J duo, to be discussed further below, is unique in starting with
21 a short time interval of imitation, and in having the longest
one in the middle of the piece.
22
22 m0
o J*o
23

24 o

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10 Music Theory Spectrum

FUGA zation names of the notes the theme comprises. Since any
solmization name can designate two or three pitch classes, a
The word fuga in the late Renaissance embraces not only wide variety of melodic variation is possible.
pitch interval of imitation, but other variation techniques that Melodic inversion is shown in the analytic scores and sche-
are applied to melodic material (inversion, retrograde, masand
by "inv" and the pitch interval between the first notes.
inganno), whether the repetition occurs in a single voice Retrograde,
or although mentioned by contemporaneous the-
in imitation between two voices. Here, however, the term orists, seems never to be used in these duos between a leading
refers primarily to the melodic relationship between the two voice and its immediate consequent.12 However, the retro-
voices, which is indicated in the analytic scores by a dotted grade of a theme may show up later in the piece, and be
line between the note in the guide and the corresponding note imitated in inversion, a process which yields the retrograde
in the consequent, with the labels for the various relationships inversion of the original theme (e.g., No. 18, mm. 14-19).
placed next to the dotted lines. After a dotted line, it is Of the fuga types above, transposition and inversion have
assumed that every note in the guide has a corresponding been fairly thoroughly examined in present-day studies.13
note, in the same melodic relationship, in the consequent. Fuga d'inganno, by contrast, seems to be less well known.
When that relationship changes, a new dotted line and label The term is believed to have been coined by Artusi, and
are placed between the corresponding notes. One of the most occurs in few other treatises.14 In the Lassus duos, inganno
striking features of Lassus's style is that melodic relation-
ships change much more frequently than time intervals of
12Rocco Rodio, in Regole di musica (Naples: Giacomo Carlino e Cos-
imitation.
tantino Vitale, 1609; facsimile, Bologna: Forni, 1981), shows two examples
The several kinds of fuga include transposition, fuga d'in- of retrograde ("fuga cancherizzata") using the famous la sol fa re mi theme
ganno, melodic inversion, and retrograde and retrograde in- that Lassus uses as the subject for a non-canonic fantasy section in duo No.
version. Transposition is indicated in analytic scores by a 14 (53).
13See, for instance, Imogen Horsley, "Fugue and Mode in 16th-Century
number next to a dotted line connecting corresponding notes;
Vocal Polyphony," in Aspects of Medieval and Renaissance Music, ed. Jan
each change of pitch interval of imitation calls for a new LaRue (New York: Pendragon Press, 1966): 406-22; James Haar, "Zarlino's
number and dotted line. The plus and minus signs indicate Definition of Fugue and Imitation," Journal of the American Musicological
which voice is leading (e.g., "+4" means imitation at the Society 24 (1971): 226-54; and Paul Mark Walker, "Fugue in German Theory
from Dressier to Mattheson" (Ph.D. diss., SUNY Buffalo, 1987).
fourth above, the upper voice being the consequent; "-1"
'4See Giovanni Maria Artusi, La Seconda parte dell'Artusi overo delle
means the lower voice follows at the unison). In rare instances
imperfettioni della moderna musica (Venice: Giacomo Vincenti, 1603; fac-
when the voices are crossed, two signs are used (e.g., " + -3" simile, Bologna: Forni, 1968), 45-57. This passage is discussed in John
means the upper voice follows, beginning a third below the Harper, "Frescobaldi's Early Inganni and Their Background," Proceedings
corresponding note in the leading voice, as shown at a in of the Royal Musical Association 105 (1978-79): 1-12. Rodio, in Regole di
Example 2. musica, 53, describes inganno as fuga in nome ("La fuga in nome e quella
la quale nomina le note per varij movimenti, come qui si vede, & molti la
One special case of change of pitch interval is fuga d'in-
chiamano, fuga d'inganno"). Camillo Angleria does not use the term, but his
ganno. This is a change of pitch interval of imitation in mid- examples of variatione di fuga in Chapter 20 of La Regola di contraponto
theme that maintains the solmization syllables of the original. (Milan: Giorgio Rolla, 1622; facsimile, Bologna: Forni, 1983) show a motive
Inganno is special in that "themeness" resides in the solmi- whose different segments are transposed by various intervals. The relative

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 A Lesson from Lassus 11

is often used along with rhythmic variation in fantasy sections.

Example 6. No. 12, mm. 15-16: solmization and ficta
This can be seen in Example 5, where the theme is the names
H N S
fa re re fa, but the hexachords from which those names are I, 11 II 1
fa mi la sol fa mi
drawn change constantly, creating very different melodic
shapes. 15 18 fcr + r' p lo- J
- - I I
Recognition of inganno can help to solve ficta problems su-
-am_. Vir--.go
go v
such as that shown in Example 6, where the melodic variation 5 " - - -8 inv
-8

results from inganno. Some editors suggest flatting the first

B of m. 15. But if the upper line is sung with Bf there, then ;Y r I b - Io rF
su- -am Vir- go
both the guide and consequent can have the same solmization fa mi la sol fa mi
I 1I I
syllables fa mi la sol fa mi (albeit from different hexachords), N S

as shown.16

Change of transposition level that does not maintain tone/

semitone position is often found in mid-imitation in the Las-
same pitch-class at either the beginning or end (
sus duos. The significance of level of transposition has to do
where the imitations begin on C; and also Exampl
with pitch and interval content. A transposed or inverted
word "Virgo"). When the melody outlines a fifth
theme can maintain the same ordering of interval qualities
beginning or ending note in common can (but
(Example 7a); this is by far the most common type of in-
ways) produce the outline of the same species of
version. Or the inverted theme can lie in the same space as
a different location.l7 Finally, it can reproduce t
the original (i.e., having the same pitch-classes at both be-
ginning and end, as in No. 6, Appendix 1, m. 11; and No.
18, m. 35, not shown here); this means it outlines the same 17Two kinds of inversion are described by Angleria in La
species of interval in the same location. Or it can have the traponto, Chapter 21, 79. Inversion maintaining intervals is
roverso" while that lying between the same pitch-classes is
contrario." He begins with a little passage showing the corr
rarity of the idea is striking: Walker ("Fugue in German Theory") surveyed "proprio roverso" between the solmization syllable of the fi
some two dozen Italian and German theorists writing on fuga between 1550 original melody and the first note in the inverted melody: "Se l
and 1650, and seems never to have run across it. in Ut, il suo roverso e il La; Se principia in Re, il suo rove
15The low Bb requires a hexachord on low F. Such a hexachord, while principia in Mi, il suo roverso e il Fa; Se in Fa, e il Mi; Se
outside the Guidonian gamut, was sanctioned by many authors, as noted in Se principia in La, si piglia l'Ut." Example 7a is a textbook c
Karol Berger, Musica Ficta (Cambridge: Cambridge University Press, 1987), roverso, the theme lying precisely within the hexachord. Rodi
13-16. In mm. 5-6 the notes F-A-A-BI are clearly another kind of variant ilar distinction (Regole di musica, 52). Using la sol fa re mi
of the initial motive, but one whose derivation is harder to define: the first as a theme, he defines the inversion that maintains intervals (
note can only be afa if a hexachord is imagined on low C, which some authors
as fuga contraria, and the inversion that begins on the same
sanctioned; the second note can be a re only if B-natural is imagined, yet there
traversa; however, because he adds examples of both types tr
are Bbs on both sides.
a fifth, the second fuga traversa (now starting on D) occupies
16One could conceive of this passage as fa mi re ut fa mi without altering
as the original, making it equivalent to Angleria's roverso contr
the conclusion regarding inganno and its influence on ficta. The only reason
on "hexachordal inversion," see James Ladewig, "Luzzaschi a
not to is that most theorists appear to favor mutating on la. Teacher: A Little-Known Ricercare," Studi Musicali 10 (19

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12 Music Theory Spectrum

Example 7. Two types of imitation by inversion fourths. Because neither of these specie
principal mode of the piece, their func
a. No. 7, mm. 9-11; S = semitone; T = tone variation or of modal destabilization.
T T S TT When types of fuga are added to the time lines, as show
I|8 F b-I_-I .J J J J J
~_ inv
in the complete schematic reductions in Appendix 2, the
contribution to form becomes apparent. Generally, man
"-^^-~~~_~~~~ 7 ~(etc.)
T T S T T changes of fuga take place within a single time interval of
imitation. Thus the time interval is a single unifying constrain
that can embrace a dizzying variety offuga types. Placingfu
types against time intervals shows that imitative sections ar
b. No. 3, mm. 16-19 canonic with respect to rhythm much more consistently th
0 with respect to pitch. In addition, change of fuga type gen
erally occurs more slowly in opening sections, so that it fun
i o: fr /rrrTJ o? tions as yet another aspect of the acceleration model. For a
/,/inv /'inv striking example, compare the first and second sections of
if+1 ,/ +8.
No. 22 in Appendix 2.
Imitation at an imperfect or dissonant interval and inver
sion tend to occur either in the middles of sections or at the
beginning of internal sections; thus these types of fuga are
of the original only in partused
(as in
in ways thatExample 2,
define middleness.18 Whymm.
might this 17-1
be?
One reason may
where only the first four intervals are haveexactly
to do with modal stability.
the Imperfect No
same).
that the labels used here do intervals
not of specify which
imitation and some type
transpositions of i
of inversions
version is used. A label like "inv
change -9" is used
mode-defining here
species of merely
fourth or fifth, causingfo
identification; what it means in terms
modal ofuseliterally
instability. The of foreign speciesreproducin
to articulate a
middle may be likened
the intervals of the original depends uponto the modulations
whereto in more distant
the dia
tonic arrangement the melody keysfalls
in the development
and how sections oflarge
tonal binary
aorrange
sonata-
covers. design movements.
The structural function of pitch and interval content of a
transposed or inverted theme can be linked to
18A rare mode.
instance of fuga atIf a
an imperfect interval at the beginning of a
guide outlines the important notes of the mode,
piece appears does
in Lassus's the
Penitential Psalm No. 2, verse 11, where it expresses
consequent echo the same important notesa textof about
theineptitude
mode, or
(Lasso, The Seven Penitential Psalms and Laudate
dominum de caelis, ed. Peter Bergquist [Madison: A-R Editions, 1990], 35).
does it present a different species than the guide, suggesting
Another example from Lassus of imitation an unusual interval is cited by
a different mode? For instance, in the passage of retrogrades
Bernhard Meier for a different expressive purpose in The Modes of Classical
and retrograde inversions from No. 18, mm. 14-19, translated
Vocal Polyphony, the in- Ellen Beebe (New York: Broude Bros., 1988),
tervals of the bracketed motives are maintained
323; originally published as in
in order Die Tonarten der klassischen Vokalpolyphonie
all cases, but all outline either second-species orOosthoek,
(Utrecht: third-species
Scheltema & Holkema, 1974).

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 A Lesson from Lassus 13

Change of species may occasionally be related to the note

connected by arrows labeled with the type of variation us
of an internal cadence other than the final or cofinal, asThere
in are three principal means of variation, excluding m
Example 1 from duo No. 2 in Dorian. Here the speciesornamentation:
out- transposition, double counterpoint, and m
lined in the lower voice is the Lydian fifth Bb-F (fa-fa),
ror inversion.

which can be said to prepare the cadence on F.19 Transpositions or "harmonic" sequences22 are labeled in
the analyses by a plus or minus sign and the number of dia-
tonic steps: "-3" means the block is transposed down a third,
REPEATED BLOCKS
major or minor. In the schemas, when many short blocks
follow one another at the same transposition level, the boxes
A block of material is a contrapuntal combination whose
are run together and arrows omitted; the number then applies
vertical and melodic intervals are repeated. Some blocks oc-
to each of the joints between boxes (e.g., No. 18, mm. 21-22
cur within imitative textures; others contain unrelated me-
and 37-38). In many cases, especially in the motets, the trans-
lodic motions.20 Blocks are indicated in the scores by boxes
posed blocks do not succeed each other immediately, and
beneath which are numbers representing the vertical inter-
perhaps should not properly be called sequential (e.g., No.
vals. The sense of periodicity is especially strong here, where
6, Appendix 1, mm. 15-16 and 18).
a whole two-voice passage is repeated. In keeping
Doublewith a
counterpoint causes the vertical intervals in the
general principle of Renaissance music, that of varied rep-
combination to change by transposing one or both of the
etition, blocks of material are almost never repeated unvaried
voices in the pair. If the voices change their relative positions
in the Lassus duos.21 In the analytical schemas, the boxes are
(upper becomes lower), it is called invertible counterpoint.
Invertible counterpoint is indicated in scores and schemas by
19Renaissance authors differ on the modal function of the intermediate
"ic" and the interval of inversion (e.g., "ic 12" means in-
cadence on notes other than the final or cofinal. Such cadences can apparently
vertible counterpoint at the twelfth). Like transposition, it
be used to make reference to other modes, or can be members of a limited
class of cadences that are proper to the principal mode. Zarlino seems to
can occur in imitative passages, or it can be applied to non-
indicate the latter when he says that the proper cadences in the Dorian, for imitative two-voice combinations. Some longer instances that
instance, are to D, F, and A (see Istitutioni, Part 4, Chapters 18-19). The have a clear structural function are discussed below, while
cadence to F in that case might not signify F-Lydian but F-in-the-middle- others occur as tiny fragments. One of the most technically
of-Dorian.
spectacular examples of the latter is from No. 20, shown in
20In the latter case it can be thought of as a two-voice soggetto, to use
Zarlino's term. Zarlino describes the two-voice motive in Istitutioni, Part 3,
Chapter 26, and discusses using a two-voice combination as the basis for
examples include: No. 16, m. 32, and a block in No. 14, mm. 22-23, which
adding another voice in Chapter 64. Anthony Newcomb refers to it as a
is repeated in mm. 26-27. These are labelled in the schemas. Balmer, Lassos
"double point" in the introduction to The Ricercars of the Bourdeney Codex
Motetten, 119, cites an ornamented scale appearing as a variation of the simple
(Madison: A-R Editions, 1991), xiii. See also Balmer, Lassos Motetten, 159.
scale elsewhere in the piece.
21See Zarlino, Istitutioni, Part 3, Chapter 55, and Giovanni Maria Artusi, 22"Harmonic" here refers to the vertical intervals, which are maintained
L'arte del contraponto (Venice: Giacomo Vincenti, 1598; facsimile, Hilde-
in the sequential passage. Artusi, in L'arte del contraponto, discusses this type
sheim: Georg Olms, 1969), 58. In the duos, only two examples of immediate
of transposition along with permissible types of repetition (58). He says this
exact untransposed repetition without ornamentation are found: No. 20, mm.
type of repetition consists of the same rhythms and the same vertical intervals
22-23, and No. 24, a cadence with voice exchange in mm. 25-26. Ornamented
but is varied by having different "notes" (i.e., it is transposed).

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14 Music Theory Spectrum

Example 8. No. 20, mm. 17-19: blocks of invertible counterpoint in a non-imitative texture
-4

B -- B
A A'5 3 3 5 3 ) 3 A' A
I "
_ -h 5 I 'N

In 7-r
=i,. - - -
wl-, - =
,~ -f r I I I 1 r . . . . . o _ o

I I I , ." - . .

3 4 6 7 10 10 9 6 5 10
3 9 6 7 310 9 6 5 3 4 9 6 (8) 10

ic 12 ic 12
-5

Example 8. This passage, which at first seems to consist of Harmonic sequence is never used at the beginning of any
free counterpoint, contains a rare flurry of overlapping duo. Perhaps as in tonal music, it has a pushing-forward effect
combinations that must have cost some effort to compose: inappropriate for beginnings, where establishment of tonality
combinations A, A' and B create a small-scale arch form, and subject are necessary. Furthermore, the levels of trans-
shown by the arrows indicating contrapuntal procedures. position that would ensure modal stability (fourth and fifth)
Note the alteration, at the asterisks in A', of one of the are used least frequently overall. Table 3 shows the number
melodies making up combination A; this alteration "corrects" of occurrences of interval of transposition of blocks, broken
the seventh that results from invertible counterpoint at the down by genre.
twelfth when the original combination contains the vertical Comparison of the ricercars and motets reveals quite dif-
interval of a sixth. Another little variant is the addition of a ferent uses of harmonic sequence. The ricercars feature nu-
passing note in the last combination, B, creating an octave merous short blocks, mostly transposed up or down a second,
(in parentheses). almost always following each other immediately, and often
Mirror inversion reverses both the melodic motions and repeated more than once. In the motets the transposed blocks
the relative positions of the voices, so that the sequence of tend to be fewer, longer, evenly divided among the possible
vertical intervals is maintained, as in Example 9.23 Mirror intervals, often separated by intervening material, and rarely
inversion can be combined with invertible counterpoint, as repeated more than once. The sequences are often used in
in No. 6, Appendix 1, mm. 8-11, or with retrograde, as in the ricercars to approach the cadence (some are actually part
Example 9. of the cadence), while in the motets they are less heavily
concentrated at the cadences.

23Zarlino refers to this technique as "the second mode of double coun- One structural use of invertible counterpoint is to beg
terpoint" (Istitutioni, Part 3, Chapter 56). a piece, as in Nos. 8, 12, and 23. In these cases the blo

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 A Lesson from Lassus 15

Example 9. No. 19, m. 31: mirror inversion and retrograde Example 10. No. 8, mm. 23-36: re

31, \/ , -I
23
23 , f
I I 1 I I I I "" 0 0 r j rltrrre
A B

e7F-r llFF
r-r r1 -
irror retrograde
9:, K'r . r1'I I I rr
"- mirror - K retrograde ~ ~I~~

iclo-

f
2

27

A' ? IJ "r rJ tp , f ? o _ J J j JJ
A' B' At" B"

b? ?o o . < o rJ
-9,~~~ C C -r Xial.isP
,I'F1 v r

-5

Table 3. Transposition levels of transposed blocks (harmonic original and the

sequence) fect vertical inte
?+2 +3 4 or 5 Totals These blocks thu
the beginning of
Motets 6 4 4 14
Apart from the
Ricercars 36 5 3 44
Totals 42 9 7 58 sequence at cade
ings), there is at
for repeated blo
that occurs in s
are non-imitative ricercars.
combinations of
Figur
breves) and are repeated in inve
twelfth or octave. Using invertibl
24See Peter N. Schu
tervals is ideal for
thethe Renaissanc
Exploration of
erally maintains the same
(Chicago: species
University

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16 Music Theory Spectrum

from the analytical schemas in Appendix 2, aligned to show posed. The effect is to build from B towards a little clim
their similar construction (actual durations are not repre- on the D in m. 29: the high points in mm. 27-29 outli
sented). In each, A is a combination that recurs varied as A'. scale D-E-F-G as the melody in the upper voice seeks
B and C can have a variety of relationships: In Nos. 1, 3, 9, reconstruct itself as it was in mm. 24-25 in a little drama not
and 12, B is a bit of free counterpoint (X) that functions as unlike Romantic phrase construction.
an ouvert ending with C providing the clos ending. In No. 8, A similar use of transposition in the A and B sections of
B is a cadence (shaded) that recurs twice: once as B' (B an ABA'C structure to create longer melodic arches arises
inverted at the octave and transposed down a fourth) and in No. 8, mm. 25-34 (in Example 10). The descending line
once as B" (B' transposed down a fifth). Finally, in No. 10, in m. 25 starts on D; in m. 30 the ascending line rises to C;
B is free counterpoint (albeit resembling a cadence) and C m. 33 has B b as its highest point; and the last descending line
has the ouvert ending. falls from A. The linear descent outlined by these high points
This form is responsible for three of the instances of short (circled) directs the modular repetitions towards the end of
values followed by longer values that were shown bracketed the piece.
in Table 1 (Nos. 1, 3, and 12). If within A, or between A and The significance of the passages in Figure 1 is that they
B, there is a reduction in the time interval of imitation, then represent a structural use not just of melodic recurrence, but
the longer value must be picked up again for the varied repeat of the repetition of the entire "harmonic" section. This is
of A, causing a deviation from the acceleration model. different from the periodic repetition caused by imitation
The operations by which the As are varied include in- because in imitation only one voice is the same in any two
vertible counterpoint and transposition at a variety of inter- adjacent segments. The recurring passage here is more like
vals. The second boxed combination in No. 8 in Example 10 a mini-ritornello, an abstract structuring device but at the
(mm. 27-28) is the first inverted at the tenth. The lower voice same time clearly bound up with repetition of the text (shown
in the first box has been transposed up a fifth in the second, at the right in Figure 1). Simple direct repetition of music and
maintaining the ut-fa (third-species) melodic intervals that text is not restricted to the ends of pieces, but instances of
express the principal mode (Lydian). The upper voice in the the ABA'C repetition model shown in Figure 1 is used at (or
first box outlines a first-species re-sol fourth of Dorian that near, in No. 10) the ends of five of the twelve motets, so it
had been introduced earlier, perhaps in connection with the functions as a signal for the end of the piece.25
cadence on A in m. 17 (compare Example 1); when it is
transposed down a sixth in the second box, it also outlines
25Pietro Pontio, in his Ragionamento di musica (Parma: Erasmo Viotto,
the Lydian fourth, so both voices regain the principal mode.
1588; facsimile, Kassel: Barenreiter, 1959), agrees with Zarlino on the ne-
Note that A" (mm. 32-34) is not boxed in the example. Al- cessity of avoiding repetition of the same consonances and melodic motions
though it uses similar melodic material, the contrapuntal "unless it is the repetition of an ending, as Cipriano did in the second part
combination is not the same. of his canzone, Alla dolce ombra" ("Conviene ancora schivi che il compos-
itore, & contrapuntista [se possibil sia] di non replicare l'inventioni per le
The passage shown in Example 11 is complicated by a sort
medesime consonantie, & movementi conformi; perche non rendano varieta
of "false start" of A' in which the first part of A is sounded
alcuna, eccetto se non fosse una replicatione d'un fine, come fece Cipriano
alone before the remainder of A' is sounded. Rests interrupt
nella seconda parte della sua Canzone, Alla dolce ombra, ma replicata la
these two fragments of A, and the second fragment is trans-inventione per diverse consonantie, tal varieta sara molto laudabile," 146).

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 A Lesson from Lassus 17

Example 11. No. 10, mm. 24-31

-4

24'r r r? - r rr r J A
rj 0 J a -

10 6 5 6 101112 10 6 5 656 1011 12

-2

MUSICAL STRUCTURE AND TEXT imitation at the breve in the middle of the piece. It is only
a short step from there to the idea of a palindrome.
In the foregoing, the motets were analyzed Text
as abstract
may also account for fuga at imperfect intervals.
musical structures on a par with the ricercars. Again
Nowinwe No.can
6 (Appendix 1), at the words "sed habebit"
replace their texts and correlate them with some
thereof the ab-at the third and a short block transposed
is imitation
stract musical features pointed out above. The up
uniqueness
a third. Theseofintervals of transposition allow the intro-
duo No. 6 (Appendix 1), for instance, with its short
duction of a initial
third-species fourth (C-F in the lower voice at
time interval of imitation and palindromic structure,
mm. 15-16) can be along with the second-species fourths
to sound
related to the opening words "Qui sequitur me"
(E-A in("He that in mm. 17-18) that are proper to the
both voices
Phrygian
followeth me"). Close stretto is common in musical mode of the piece. Lassus may have chosen this
settings
of texts about following.26 We may imagine Lassusmode beginning
for this text on account of the word "tenebris" ("dark-
ness").
with a short time interval of imitation inspired by theThetext
subtleand
infiltration of these fourths smooths the
then, in order to provide variety and to ensure thetoappro-
transition several fourth-species fifths and a third-species
priate acceleration towards the final cadence, deciding
fourth (F-C to
anduse
F-Bb in the upper voice at mm. 17-20) that
express the word "lumen" ("light"; compare Example 1).27

He follows this statement with an example anticipating some of

27Tothose Artusi
say that the Lydian species express the word "lumen" is to extend
would use later in L'Arte del contraponto cited in note 22).
Meier's theory of melodic commixture. For Meier, excursions outside the
26Horst Leuchtmann, in Die musikalischen Wortausdeutungen
mode (whetherin den or melodic) primarily reflect words having to do with
cadential
Motetten des Magnum opus musicum von Orlando di Lasso (Baden
different typesBaden:
of change or of negative emotions; the most positive words
Verlag Valentin Koerner, 1972), cites this duo on p. 147, andhegeneralizes: "Wo
lists are in the category of "blessed" and "humble." "Light" is not among
fuga schon eine Figur ist (= Kanon), liegt es nahe, fugere und
the auch
words sequi
he listsdurch
as expressed by modal means, although he mentions it
auffallende imitation auszudeuten" (61). briefly in the context of word-painting by melodic ascent (The Modes, 240).

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18 Music Theory Spectrum

Here text expression and structure coincide, since the Table 4. Intervals of invertible counterpoint
"loaded" word and the foreign species occur in the middle twelfth octave tenth Totals
of the piece. The notion that imperfect interval of transpo-
Motets 4 3 5 12
sition is based on text is somewhat borne out by the fact that
Ricercars 7 5 - 12
invertible counterpoint at the tenth (in which one voice is
Totals 11 8 5 24
transposed by an imperfect interval) is used only in the
motets, never in the ricercars (as shown in Table 4).
Finally, text may be responsible for the only example in
a motet of a long harmonic sequence. It is at the word
"malum" ("evil") at the end of No. 5. The setting consists of CONCLUSION

a short block transposed four times down a second. Meier has

pointed out that repetition and evil are associated.28 Here The young composer who could absorb this l
again, expression and structure coincide, since this type of Lassus would have mastered form as the assembl
harmonic sequence is mostly used in the ricercars to approach etition of many small parts that are varied by m
a cadence, and the word "malum" occurs at the end of the trapuntal techniques. Lassus's own use of these t
piece (however, we are forced to conclude that what is per- articulate beginning, middle, and end can be sum
fectly normal in a ricercar is evil in a motet). The examples follows. Beginnings are characterized by a slow ra
above are not only momentary madrigalisms, but show how of fuga and a slow time interval of imitation (an
abstract long-range schemes can coincide with expressive might seem to be the fantasy beginnings, but in
intent. acquires fast-paced variation and change of fuga
away the progressive melodic development of a g
other option for the beginning is the use of two-
Leuchtmann, in Die musikalischen Wortausdeutungen, cites this same ex-
where repetition is varied by invertible counter
ample from Lassus's duo No. 6 in his exhaustive list (142), and also discusses
it in the text. For him, "lumen" is expressed by quick motion, and in the imitative openings that maintain a slow time int
phrase "lumen vitae" it expresses both "light" and "life," and its effect even itation, these blocks offer periodic phrasing, bu
spills over into surrounding words: "Lux. Licht und leuchten werden als are longer. Both types of opening ensure modal
Bewegung iibertragen . . . Lux oder lumen erschienen ausgedeutet nur sehr to perfect intervals of transposition.
selten; im iiberwiegenden Teil bleiben sei [sic]-wenn auch verschiedene
Middleness for Lassus involves quickening t
Grinde fur das Ausbleiben beizubringen sind-unberiicktsichtigt. Ein
Beispiel aus Motette 6: die Bewegung beginnt schon bei 'habebit.' Hier stehen terval of imitation and quickening the rate of ch
in 'lumen vitae' zwei Worter zusammen, die-besonders vita-mit Bewegung types. In addition, certain specific fuga types (im
ausgedeutet werden. Es ist anzunehmen, dass die grosse melodische Bewe- terval of transposition, inversion) are reserved f
gung fur beide Worter gilt" (51). These features obtain on both the large and sma
28Meier recognizes repetition of "repeated tones, intervals, or melodic
in the middles of pieces and in the middles of
phrases" for the purpose of expressing words having to do with bells, trum-
pets, repetition, duration, and various negative emotions (The Modes, 243- pieces. The imperfect intervals of transposition
45). Leuchtmann sees evil as expressed by melodic descent (Die musikalischen used to add variety and to differentiate the midd
Wortausdeutungen, 37), and cites this example from Lassus's duo No. 5 (141). or section, but to destabilize the mode, sometim

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 A Lesson from Lassus 19

Figure 1. The ABA'C passages

Duo: A B A' C(or B') A" B" Text:

o ,0 X o r ,sA: "circumspectionem"
No.1 -4+5 -4 -5-4-1 B & C: "Dei"
end, mm. 23-32

-3

0 oX X oe J A: "qui diligunt"
- 8 -5 -6 +5
No. 3 -8 B & C: "ilium"
end, mm. 22-31

' ic 12 - ,mirror

,X 0 x :(s A: "ego reddam"

No.8 +6 -5 +1 -5 -5- B "vobis"
end, mm. 23-36 I I
~"' iclO10 ic8-4 5

X0 A: "et tollat cru-"

No. 9 3 -4 5 B & C: "-cem suam"
mm. 16-22

~same

o0+? o XenA X A: "in gaudium"

+8 +8 +4 +8 inv
No. 10 + 8-4 -12 -5 B & C: "Domini"
end, mm. 24-35 '' L i i
-2

0 , 6 X X O ' ? A: "qui vitalem"

+5 +5 -3
No. 12 +5,*+5 ' -3 __ B & C: "dat odorem"
end, mm. 29-35

L I &I~~~~~~~~~~~~

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20 Music Theory Spectrum

effect of introducing a cadence on a less important degree ABSTRACT

than the final or fifth. This article demonstrates how contrapuntal techniques con
Ends of ricercars differ from those of motets. In both, the formal structure of Lassus's twenty-four famous d
repeated blocks are likely to be used, but in the ricercars types of contrapuntal events are identified in each piec
terval of imitation, fuga (type of melodic variation), an
these repeated blocks are sequences, while in the motets, as
(contrapuntal combinations, usually varied by transposit
a consequence of text repetition perhaps, the repeated blocks
vertible counterpoint). Occurrences of these events are ma
sometimes form more complex phrase structures in which the
time lines for all twenty-four pieces. The time lines su
blocks act as little ritornellos.
clusions regarding Lassus's normative formal procedures. T
We have been inclined to hold our respect for contrapuntal cedures can in some cases be related to text and, in othe
artifice at a healthy remove from our appreciation of music's
as suggestions for expressive performance.
more immediate attractions. Yet it is contrapuntal technique
that is responsible for some of the most dramatic attributes
of Lassus's duos: the contrast between the consistency and
slow pace of beginnings with the intensification of quickening
time interval of imitation; the relaxation of tension after a
cadence with the new start at a relatively slow time interval
of imitation; the unpredictability of fantasy; the sense of be-
ginning a block again after intervening material; and the
broad melodic arches created by transposed repetitions. All
these can be brought out by the performer. In addition to
refining our perception of the style and construction of these
duos, recognition of their contrapuntal features can also af-
fect our hearing and performance.29

29Many other aspects of Renaissance music could be represented in some

shorthand manner and mapped onto the time-lines in Appendix 2, so that
further correspondences and conclusions could be drawn. These could include
motivic derivation (how the various motives in a piece are related), contour
(the structural function of high and low melodic points), durational and metric
structures, arch forms, and rates of rhythmic and melodic activity. On arch
form in Lassus, see Balmer, Orlando di Lassos Motetten, 115-30 and 247ff.,
and Lacas in the liner notes to "Orlande de Lassus Moduli Quinque Vocibus
1571." Christopher Reynolds has identified palindromic structures ("concen-
tric order") made of thematic recurrences ("mirror points") in "Musical Ev-
idence of Compositional Planning," 58ff. The author wishes to thank his
seminar students at McGill University who worked through a few of these
duos and adapted the methods presented here for use on music in four or
more parts.

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 A Lesson from Lassus 21

Appendix 1. Duo No. 6: "Qui sequitur me"

I
&O 5
Cantus
L < - o; J 4 , " o - o rJ 5- . .. r .L
QuiX\ se- - qui- tur me, qui se- - qui- tur me, qui se- - qui- tur me,
-5\.

Altus
-0o J
J.aJ0 or,
o 3 3f.
? ? J J
Qui se- qui- tur me, qui se- qui- tur me,~ ~qui~
me, qui se- s ~e-~qui-
qui- tuer~tur
me, I me,

7
0 -J
10

-\ r * -f i? ) ?r; n ,^r J" r d

non \am- \ bu- lat, non \am-\ bu- lat in \ / te- -ne-
x invx \ inv v /+5
-5xx\'5 _5\ -5\-4 x12

^ -J o 'ro o [' J c ';^ J.

non am- - bu- lat, mirror non am- - bu- lat in te- ne-
5 O 6 6 5 6 5
15 c

[ b ^ 1 ! 0 -- r ' -, r J r r r fr J
bris, sed_ ha- be- -bit, sed ha- be- -bit

"r o - f f, rf r r - r
bris, sed ha- be- - bit, sed ha- be-
20 3 4 5 6 3- +3 33 4 5 6 3

I1iv^
J r-
-rr^--^-rr
r r ' *
f ||.
- 25
/ ,/+5
fF- r r
- +4,/ 4/
men vi-/
+5 - tae:
4 di- cit Do-

bit lu- - men vi- - tae: di-

26 J
rdj~~~~~ ^ ^-^30

u-
-,,r r r rr f,, rr rr, ,(r(r) rrr rr r T
mi- nus, di- cit Do- - - - mi- nus.
- r8 8 r\\\\\
| Eb1P r fff frrJ- r i r r z I
cit Do- mi-nus, di- cit Do-
I ' I~ I
mi- nus.

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22 Music Theory Spectrum

Appendix 2. Time Line Analyses of the twenty-four duos. (Unconnected boxes indicate fragment settings.)
M= measure B=repeated blocks
T=time interval of imitation C=cadential note

F=fuga type
L:iii =free material leading to cadence
i= inversion

No. 1
M 5 10 15 20 25 30
L I 11111 1111111 I I i I I I I I I I I l

T 4 L_L o o +x o $ E,l
F i +5 +3 +5 -5-4-5-4-5 -4 +5 -4 -5-4-1
+5

C A F D

No. 2
M 5 10 15 20 25 30 35
L 1I 1I I i 1 1111111 I 1 1111111111 111111111 I I J

T m X X o :I:::::::::::::::::::::::::: o F .-
F +5 +4+1+4 +5 +4 -8 +3 -5-4 -6 -5 -1 +5

B
ic12 -3
C D F D

No. 3
M 10 15 20 25 30
LII 1 11111 1 I I I 1 I I I 111 1 1111111

T 'I X o j ':0 :'.'' 0 J x o J i

F -5 -8 -7 -5 i i -8 -5-6 +5
+1 +8

B ELI] LE
+2 =ic 12-_ mirror
C E A D

No. 4
M 5 10 15 20 25 30
L I I I 111111111111111111111111111 I I I J

T Eli 0 o liii
F -8 -5 -1-5 -8 -1 -6 -8 -1

B s2,Zic IO
C D F A C D

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 A Lesson from Lassus 23

No. 5
M 5 10 15 20 25 30
L III_ 1 i 1 1 i i i ii Ii Ii I I i 111111111111111111 I iI Ii iI J

T -' 4 L o J Ei x E
F +4 +5 +6 +8 +5 -6 -5 -4 -5

B
-2
C D E A A

No. 6
M 5 10 15 20 25 30
L i I i i i i i i i i i i i 111111111 1 1 1 1 1 J

T j o J E 1=1
Y jd
1H o
o
F -5 -5 i -5 i i +5 +3 -5 +5+4+5 -4 -8
-5 -4 -12

~~~B Ej,,icl 0 +3AD

C A D A

No. 7
M 5 10 15 20 25 30
L 1 1 1 1111111111111 I I 1 1 1 1 1 1 J

T H -8 1111111
J7 - E o j 4 E o o x J E:
F -8 -5 -7 -5 +5 +6 +3-5 -2-5-4 -8-4 +5 +6 i -8 -5
-7 +-3

B
ic8 -3
C C A F

No. 8
M 5 10 15 20 25 30 35
L i i i i 111 111 111
i i 1 I I i I i i i i I i i J

T : 0 [ :i o Jx j 1 X E x j o J =
F +6 +3 -5 -5-6 +6 -5 -5 +1 -5
ic8
ic12
B
i F F Cc8 A
icF C F
C F F C A F C F

No. 9
M 5 10 15 20 25 30 35
L I 111111 i i i i i i i i i i I i i 1111111111111 1111111 i I I I II 1 I 1 J

T o 61 [- 5EL0 o < o 0 X o o Eli c

F +8 +4 +-5+-4-5 -5 -4 -5 -1 -3 -4 -5 +5 +4 +8 +3 +1+10 +4 +8 i -5-8
-12

B
-4A E same
C F A F F

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24 Music Theory Spectrum

No. 10

M 5 10 15 20 25 30 35
L I i I i i i 1 1 1 1 1 1 1 I x xI I I I

T a' '. 4 j o x o J x xJ:xE

F -5 +4-5 +8 +5 +8 +1 +8+4 +3+8 +8 +4 +8i-5 -5 -1
-2 -12
B
[t +35- ;,iclO iclO
C D G

No. 11
M 10 15 20 25 30 35
LIII II 1 1_ I I I I I I I I 1 1 1 1 1 1_ 1
1111111111111111111 11 1 111 11

T a o m o GJ a X
F -5 -8 -5 -1-6 -8 -5 -4-8-11 i i -6-10-4-8-2+3 -8 -3 +5
-11 -3

B
-2
C G

No. 12

M 5 10 15 20 25 30 35
L I I i 11111 1 1 1 1 I I 1 I 1 I i ?
1111111111 1 1 I i I i I ? J I I J
11111111111]

T 1 4:::.:::::.:. X a X= .E o 0- o xo x J H
F -4 -5 -8 i -4 -5 +7 +5 +5 -3
-8

B I Z I Z I :I
-ic 12- -
C D C D G

No. 13

M 5 10 15 20 25 30 35 40 45
L III 1 I 1 1 1111111 11111111111111 11111 1 I 1 1 I I I I I I J
1111111111J

T a J o J::l a Xo:: o J xJ x xJ E o J x J xJxJ E

F +8 +5 -4 +8 +4 +8 +5 +10+8 -4 -3 +6+5+8 -6 -8-12 +8 +4 +8 -4-5 i-8
-5
-2 -2
B 1111111
iD G -2 -2
C D G Bb G

No. 14
M 5 10 15 20 25 30
L I I 1111111111111 I I I 11111 111111111 1 1 J

T (non-canonic fantasy: ' X X X

F 23 entries of la sol fa re mi) -6-5 -8 +8 -5 +8 +5+12-8-4-8
ornamented
B II1[E ID 11I C [D
-2 -2 -2 -2
C G Bb G

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 A Lesson from Lassus 25

No. 15
M 5 10 15 20 25 30 35 40
L I 1 1 j l 1 1 I I I I , I
11111111111111 1 1, I I 1 1 I 8 I I
1111111 111111 I I 1 1 I J

T a J Lim x - x J Eo
0o IL oJ oJ x o Jx J
F +8 +4 +8 -8-5-6 +8 +8 -8 +5 -8 -6 -8 -8-5+4-6-8 +8 i-8
+1

B C
D ic12
C D G Bb G

No. 16
M 5 10 15 20 25 3( 0 35
L I I 1111111111 L I
11II
1 1 1 1 1 1 J
, Io
T H 1::. ::::: 0
Xo
X o x J J E
F -8 -5-8 -5 -8 i i +5 +8 +5 -8 +5 +8
-9 +6

B
+2
ic12
C G Bb G

No. 17
M 5 10 15 20 25 30 35 40
L I 1 1I 1 11111 I 1 J
T 1
1 1 1 IX
X o
I .o J JEJ J E J xJ E
F -5 -8 -5 -8 i -8 -7-10-5-8 i -8 -5-7 -6 -8 -12-8 -5 +5
-10 +1

Irrm [ = W
-4 +2 -2 -2 +2 -3 -2 -2
mirror
C G Bb A G

No. 18
M 5 10 15 20 25 30 35 40
LIII 1 11 11111111111 1111111111 11 j 1 I I J
T a 0 J [ o XoJJEJ J JJ j E
F -8 -5 -6 -7 -8 i -6 i -8-9-6 -8 -5 -11-5-4 -8-5 -8 -6i-6-8+5 +8
-9 -11 -6

B m
-2 -2 -2
C G Bb G

No. 19
M 5 10 15 20 25 30 35 40
L 1III I 11111111111111111 1 1 1 1 1 I 1 11 1 111111 . 1 1 1 1 1 1 J

T 0 J M o EJ J J E J xJ XoJ X o o E J J i
F -8 -5 -8 -4 -8 i +8+5 +8-5-8-5 -4+5 -5-4-1-8-11-8 -8 i i +1 +5 i i+8 +5 +8 -5
+12 -7 +13 -12-12
+2
B m rn [m
-2 +2 mirror %+39
C C A A
retro.
C
C -2 E
E

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 26 Music Theory Spectrum

No. 20
M 5 10 15 20 25 30 35 40
1111111111 I I 111111 I 111 111111 I I J

T (non-canonic fantasy: o YJ Jx KEI Y E Y ' JI JxJ

F 9 entries of fa re re fa) +1 -1-8+5+4+5+1+4+8+5+3-8 +8+5i+1+4 +8-1-5-8 -8-1 +1 +8 +1 -3-6-8 +8+1+5+li +6 +6
-5 +12 -12
B
[IM?T] [I]
-2 /m^ same
C icl2 -4icl2c F A F

No.21 20 253
M 5 10 15 | ^ 20 25 30 35 40 45

M I I I I I I I I i I I I i I I J ? I I i 1 i 2 1 1 2 J I 3 I 1111111 I i I 1 III J

T ' J0J I H xx : x x j iE J x
F -5 -1 +3 +8+5+4 i +3-5 -6 -4-8-5 +4 +4 -5 -5 +5 +1+5+8+5-5 -7-5
+6

B Irm I W [IDG] [m =I I
+2 -2 -2 -3 -3 -2
C D E G

No. 22
M 5 10 15 20 25 30 35 40
L I I 111111111111111111 I I I I I I IIJ

T 9 mm o 0 J j j JEE J J j
F -5 -4 +6+5+1+5 +8+1+5+-3+8i-3i -4-5+5 i +4+5 +8+5+3+7-4 -5 -6-4-5-7-8 +1+8+-2-4 -8
+1 -9 +1

B m (Im ln] Fn] rTm

+2 +2 -2 -2 -2
C G D C G

No. 23
M 5 10 15 20 25 30 50
L I 1 I i 1 11111111111111111111 I I I I [ '"- - I I I I J

T (non-canonic fantasy:
F 31 entries of ut re ut fa mi r

B I I I I I I I I I
- ic 1 2 -ic 12 K-ic 8 -- k-mirror2
C G G

No. 24
M 5 10 15 20 25 3C 35
L III I i 111111 1111 111 11111J

T 4 j Fiii 0 JoXo:'.-lii o E j ?E J x j_ J
F -5 -4 -5 i +8+5 +1-8 i -5-1-5+4 +4 +1+8+5+8 -5 +4 -5 -8
-5 -11

C G GG D G G

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