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<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB
style="mso-ansi-language: EN-GB"><FONT size=3><FONT face="Times New Roman">Peter
Schubert wrote:<?xml:namespace prefix = o ns =
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<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt 36pt"><FONT size=3><FONT
face="Times New Roman">In a most repertoire the final is in fact approached by
the usual 6-8 motions you describe, but the final is often sustained in one
voice. This is the coda-like thing that Burmeister calls the supplementum – he
says these motions “make it very clear that the ending has arrived” (Rivera’s
translation, p. 151 ). The so-called plagal cadence generally results from the
oblique motions that occur while the final is being sustained. <SPAN lang=EN-GB
style="mso-ansi-language: EN-GB">Sometimes the final is only virtually
sustained, with all voices moving, but the effect is the
same.<o:p></o:p></SPAN></FONT></FONT></P>
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style="mso-ansi-language: EN-GB"><o:p><FONT face="Times New Roman"
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<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB
style="mso-ansi-language: EN-GB"><FONT size=3><FONT
face="Times New Roman">Thanks a lot. This has been very helpfull. I’ve been
reading this explanation of Burmeister in his <I
style="mso-bidi-font-style: normal">Musica poetica</I> (1606) and it is really
clear. I wonder if there are some other explanations of this kind in other 16th
century theorists.<o:p></o:p></FONT></FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB
style="mso-ansi-language: EN-GB"><o:p><FONT face="Times New Roman"
size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><FONT size=3><FONT
face="Times New Roman"><SPAN lang=EN-GB style="mso-ansi-language: EN-GB">Richard
Porterfield wrote:</SPAN></FONT></FONT></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><FONT size=3><FONT
face="Times New Roman"><SPAN lang=EN-GB
style="mso-ansi-language: EN-GB"></SPAN><SPAN lang=EN-GB
style="FONT-SIZE: 10pt; FONT-FAMILY: Verdana; mso-ansi-language: EN-GB"><o:p></o:p></SPAN></FONT></FONT> </P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt 36pt"><FONT size=3><FONT
face="Times New Roman">I do not know examples of 16th-century
deuterus-mode pieces ending with the bass sustaining ^4 below the
tenor. Clearly this is normal for the moment of cadence, but by the end the
bass usually gets to the unison or octave below that structural voice. If
anyone could give an example of this at the very end of a piece (the end of a
prima pars doesn't count) I'd be grateful.<BR
style="mso-special-character: line-break"><BR
style="mso-special-character: line-break"><o:p></o:p></FONT></FONT></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB
style="mso-ansi-language: EN-GB"><FONT size=3><FONT face="Times New Roman">The
bass move D-A under the usual major 6th-octave intervallic progression (F-E in
the tenor against D-E in the cantus) is just one of the possible ways to fill
the four-voice texture, and not the most usual one. Bernhard Meier deals with
this at some length in <I style="mso-bidi-font-style: normal">The Modes of
Classical Vocal Polyphony</I> (p. 96-99). He also mentions some examples of
works ending this particular way (p. 98, footnote 19): Isaac’s “Ich stund an
einem Morgen”, Lapicida’s “Es lebt mein Herz”, Heintz’s “Da trunken sie”,
Josquin’s “Plane de deuil” and “En non saichenat”, Festa’s “Quit dabit oculis”
and two anonimous 15th century works.<o:p></o:p></FONT></FONT></SPAN></P>
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style="mso-ansi-language: EN-GB"><o:p><FONT face="Times New Roman"
size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB
style="mso-ansi-language: EN-GB"><FONT size=3><FONT
face="Times New Roman">Richard Porterfield wrote:</FONT></FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB
style="mso-ansi-language: EN-GB"><FONT size=3><FONT
face="Times New Roman"><o:p></o:p></FONT></FONT></SPAN> </P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt 36pt"><SPAN lang=EN-GB
style="mso-ansi-language: EN-GB"><FONT size=3><FONT
face="Times New Roman">In answer to Cristobal's second question, it's
clear that Renaissance composers felt that the plagal cadence on its
own was "conclusive enough to end a work," in modes 3 and 4, at least.
<o:p></o:p></FONT></FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB
style="mso-ansi-language: EN-GB"><o:p><FONT face="Times New Roman"
size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB
style="mso-ansi-language: EN-GB"><FONT size=3><FONT face="Times New Roman">Well,
I’m not so sure about that. For sure, modes 3 and 4 can be somewhat different in
this. But I wonder if there isn’t a previous “usual” cadende in most cases. This
is indeed the case of <I style="mso-bidi-font-style: normal">In me
transierunt</I> de Lasso, analysed by Burmeister as a typical example of his
supplementum. As for other modes, it seems difficult to find a plagal cadence
end without a previous (7)-6-8 usual cadence; I think I found one in <I
style="mso-bidi-font-style: normal">Tye’s In nomine “Crye”</I> (it is in the
Norton Anthology of Western Music, 2nd edition), but possibly this instrumental
work is not very representative. Does somebody know of any other
cases?<o:p></o:p></FONT></FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB
style="mso-ansi-language: EN-GB"><o:p><FONT face="Times New Roman"
size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB
style="mso-ansi-language: EN-GB"><FONT size=3><FONT face="Times New Roman">David
Cohen wrote:</FONT></FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB
style="mso-ansi-language: EN-GB"><FONT size=3><FONT
face="Times New Roman"><o:p></o:p></FONT></FONT></SPAN> </P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt 36pt"><SPAN lang=EN-GB
style="mso-ansi-language: EN-GB"><FONT size=3><FONT face="Times New Roman">On
the other hand, in the 17th-c. lists of so-called "church keys," A is often
listed as the final for one of the keys that would be more or less
equivalent to one of the E modes; I've always thought that the use of A in
the bass at E-mode cadences is probably responsible for
that.<o:p></o:p></FONT></FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB
style="mso-ansi-language: EN-GB"><o:p><FONT face="Times New Roman"
size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB
style="mso-ansi-language: EN-GB"><FONT size=3><FONT face="Times New Roman">The
origin of the the church keys has to do a lot with the singing of psalms (and
other pieces with similiar tones like the Magnificat) accompanied by the organ.
In fact, the 3rd psalm tone usual ending in A (instead of the modal E) explains
this 3rd church key with final on A.<o:p></o:p></FONT></FONT></SPAN></P>
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style="mso-ansi-language: EN-GB"><o:p><FONT face="Times New Roman"
size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB
style="mso-ansi-language: EN-GB"><FONT size=3><FONT
face="Times New Roman">Thanks everyone for your
answers,<o:p></o:p></FONT></FONT></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><SPAN lang=EN-GB
style="mso-ansi-language: EN-GB"><o:p><FONT face="Times New Roman"
size=3> </FONT></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><FONT size=3><FONT
face="Times New Roman">Cristobal Garcia-Gallardo<o:p></o:p></FONT></FONT></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><FONT size=3><FONT
face="Times New Roman">Conservatorio de Malaga
(Spain)<o:p></o:p></FONT></FONT></P>
<P class=MsoNormal style="MARGIN: 0cm 0cm 0pt"><A
href="mailto:garciagallardo@terra.es"><FONT face="Times New Roman"
size=3>garciagallardo@terra.es</FONT></A></P>
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