than the “second tenor” below. Indeed, at its peaks it even crosses the cantus at times—sometimes quite
dramatically, as when it makes its first ascent to the high G (m. 15) while the second tenor descends to its
lowest note to put a maximum distance of a twelfth between the two parts that in earlier music used to
cross so freely.
EX. 12-4A Missa Caput, Kyrie (sung with prosulas), mm. 11–25