Nowhere else have we seen a sacred composition in which the text is set as straightforwardly, line by
line, as here. Every line begins with a fresh texture and comes to a full cadence. The first line, as already
noted, begins with a full, four-part, regular, but very short-breathed point of imitation, succeeded by a
cadential phrase after only ten measures (Ex. 13-7). The next couple of lines are set in what would have
been fairly strict homorhythm but for the somewhat more active and decorative altus. Following that there
are three short-breathed duos in a row, each of which comes to a full cadence, to bring the first verse to a
close. A semblance of continuity is maintained by the retention of a common voice to link successive duos
(the common presence of the superius links the first and second; the common presence of the altus links
the second and third).
EX. 13-7 Gaspar van Weerbeke, Mater, Patris Filia, mm. 1–11Part of another, somewhat shorter and very lively motet loco Agnus from a different cycle of
replacement motets (Ex. 13-8) shows a few more favorite textures and devices, from what might be called
“paired imitation” at the beginning (the same little duo twice repeated, superius imitating altus, and tenor
imitating bassus), rapid homorhythmic “pattersong” (“claustrum Mariae...”), and, finally, the sudden
switch from duple to triple subdivisions of the beat, producing a high-energy, dancelike payoff (often