Texture, Melody, and Meter
For sheer beauty and expression of sorrow, Josquin’s five-part lament on the death of Ockeghem (in 1497) stands out as one of the supreme masterworks of the Renaissance. A short score of this work is given as Example 12-1. In this score the tenor is removed from its normal place and appears at the top. The reason for this change from usual practice will become clear when the music is examined. Before reading on you should play through the four other voices both separately and together, either omitting the tenor line at the top or singing it as you play. Or, as was suggested in connection with Example 9-6 (pages 99-100), get a friend to sing or play the tenor on another instrument while you perform the four other voices. DO THIS BEFORE READING ANY FURTHER.