Sanctus

As in the Kyrie, Josquin starts this movement with the motive in breves. Here, the pleasure is given to the altus, who sings sandwhiched between the superius and bassus, who trade off turns on a scalar phrase. The tenor comes in gain, directly following the conclusion of the motive in a different voice, and again, the tenor holds out breves until the conslusion of the movement.

The motive doesn't really put in much of an appearance in the second section of the Sanctus (the Pleni sunt caeli). There are several places (not highlighted) in which the whole and half-note feel of the section is broken by quarter notes moving downward for two notes and landing on a half note, a possible reference to the motive.

The next full statement of the Re-Do theme is at the tenor's entrance into the Hosanna. Surprisingly enough, the tenor has been given the privelege of singing whole notes rather than breves. Just underneath this is the bassus, singing a distorted version of the theme (La-So-La-So-Re-Do-La).

Note that these words are not as good of a fit to the seven note motive as the Kyrie Elieson.

Again, the tenor sings the motive to the same somewhat-related bassus. Both voices are now a fifth higher than they were at the previous occurance of the motive. Both voices drop out and then come back in with the same music, now an octave above the original "duet."

For the remainder of this movement, the tenor sings the motive on re, up a fifth on la, and then up a forth on re, all on half notes.

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