Tenor

Abstract It is not always understood how fundamental the tenor is in this repertory. This must be discussed first, with examples of how its function can vary. Brief discussion of examples of falling 5th cadences in Dufay lead to a discussion of Ockeghem’s Tant fuz gentement. Finally the chapter turns to Ockeghem’s Fors seulement l’attente que je meure. Discussion here begins with the confusion of tenor and discantus in the earliest manuscripts and in most modern editions. It then continues with a demonstration of which voice is indeed the tenor. Finally there is a discussion of the song’s truly unique qualities and some of the details that make it one of the most perfect songs of the century.