ABSTRACT
The six-voice masses Gloria tibi Trinitas, Corona spinea and O Michael are longer and more elaborate than the five- and four-part settings. The masses Gloria tibi Trinitas and Corona spinea are discussed in their order of appearance in, because their relative chronology is uncertain. The hollow scoring of just treble and bass, common in older music, is found also in the mass Corona spinea. The full textures of the mass O Michael are less layered than those of Corona spinea, although from time to time slow-moving tenor and bass parts support a more active superstructure. At 'gloria tua' this is thrown into relief by the slow-moving bass, the music is similar to but surpassing in elegance and spontaneity, the passage from the mass Gloria tibi Trinitas quoted in Ex. 9.6. The rising scales in minims at 'Jesu Christe' in the Gloria parallel those at et ascend it in the Credo of Gloria tibi Trinitas, but the passage is less arresting.
