Last Updated：2022/12/24
The accompanying texture, too, is rather more than a simple filling in of the harmony. In the first phrase, for example, the beginning of the counter-melody in the Sextus part is shadowed in shorter note values in the tenor of Choir 1 and the alto of Choir 2, while the rising scale of the plainsong (bars 2-3 (Bt 3-5)) is shadowed by the bass of Choir 2.
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The
accompanying
texture,
too,
is
rather
more
than
a
simple
filling
in
of
the
harmony.
In
the
first
phrase,
for
example,
the
beginning
of
the
counter-melody
in
the
Sextus
part
is
shadowed
in
shorter
note
values
in
the
tenor
of
Choir
1
and
the
alto
of
Choir
2,
while
the
rising
scale
of
the
plainsong
(bars
2-3
(Bt
3-5))
is
shadowed
by
the
bass
of
Choir
2.
