As in the first section, superius paraphrase prevails.
This is partly imitative, and has a superius that is particularly faithful to its chant.
It has consistent superius and tenor parts, and a varying and clearly non-integral countertenor.
The first-section superius also ends with a sequential melismatic passage very similar to those previously illustrated, and the contra throughout combines the familiar bass and filler functions.
In most of the rondeaux, the uppermost voice (the superius) was texted, and the other voices were most likely played by instruments.
The former mass uses strict canon at the fifth between "superius" and "tenor," as well as a head motive in most movements.
As it crosses the odontoid process, a small fasciculus ("crus superius") is prolonged upward, and another ("crus inferius") downward, from the superficial or posterior fibers of the ligament.
