ABSTRACT
The imitative motet is typically based on successive points of imitation and is sectionalized by cadences. Each new phrase of the text has a new theme, treated imitatively by all the voices or homophonically. Motets vary drastically in length, depending on the amount of text set and on the degree of homophony. Cadences are smoothed over by dropping out voices, by thematic overlap, and by suspensions, all of which preserve the flow of the music. The voices are balanced in rhythmic and thematic importance. One or two important motives often permeate the texture. Imitation is often found paired and at tonic and dominant pitch levels, as in the motet Dies sanctificatus. The opening in particular tends toward these standard tonic-dominant relationships. The length of strict imitation varies widely. Rigorous canonic procedures are rarely used, although the first pair of voices is often in exact canon until the entrance of the second pair.
