- 4 voices, 1 female and 3 male
- voices seem to have equal representation throughout the piece, definitely not a tenor note as was common in medieval music
Meter:
- The meter isn't entirely clear; it's likely that it isn't consistent throughout
- Pieces of the song can be felt in a syncopated three, but this does not fit entirely
- Tempo most likely largo (~50)
Texture:
- The piece begins with four-part homorhythm/homophony (lasting throughout the first phrase). From the first phrase on, it seems like there are two parts that are consistently homorhythmic, while the other two deviate to create polyphony above the harmony.
- Four-part homorhythm strong at 0:47
Tonality:
- Definitely in some diatonic mode. My guess is Phrygian mode because there are lots of minor intervals sung throughout, evidence of the minor 2nds, 3rds, 6ths, and 7ths found in Phrygian mode.
Structure:
- It does not appear that there are repeated verses or melodies, leading me to believe that the piece is through-composed, following a poem-like structure. Similar rhythms reappear throughout, yet at different pitches and intervals.
- From what I can tell, it is entirely syllabic.
Context:
- As it was composed by Josquin Desprez, its likely that the song is a French chanson, known for being lyric-driven. I believe that this piece is extremely lyric-driven because the syllables accented when speaking are accented by rhythms, making the lyrics easy to depict, and the song overall is bursting with sorrow (a powerful emotion expressed by the minor intervals).
- The piece is secular, as the title, translated into English, means "a thousand regrets", which does not sound very sacred to me. It is likely that this song features an epic love poem about someone who ruined a relationship - NOT the Holy Trinity.
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