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Aside from the paired presentation of the head mixture of g Dorian and g minor (via the presence of
motive, this motet behaves like a modal Renaissance signed e-flats). Finally, the continuo is actually a bas-

motet. Given its original low clefs, signed b-fl at, g fi - so seguente, merely outlining the lowest sounding voice
nal, and vocal ranges (S/T: d–d; A/B: g–g), the mo- part.
tet is clearly in mode two on G. The paired vocal The next stylistic group mixes this older style with

entries present the first theme on final and dominant more active declamatory rhythm. This mixed style
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respectively; thus, there are eight presentations of appears throughout the five Passion motets in Phrygian
the theme (two in each voice). In keeping with sev- mode (SWV 56–60). Figure 2 gives the opening of the
enteenth-century modal practice, the piece shows a second motet, Ego sum tui plaga doloris (SWV 57):

CHORAL JOURNAL October 2022 Volume 63 Number 3 19