Moving the Immovable 43
Box 3.1
(continued)This leads to a subsequent cadence on G, the Ionian dominant (that is, the fifth above its
final) ( ♪ sound example 3.3d):But G is also the third degree of E; this reinterpretation of G enables the ensuing Ionian (C)
harmony to be the pivot between Dorian harmonies and Phrygian. Josquin underlines the
modal distance so far traversed by ending the motet ’ s first part on a full Aeolian (A) cadence,
now bringing forward in the highest voice its third (C), which also alludes to the important
Ionian (C) arrivals that had prepared it ( ♪ sound example 3.3e):