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.
The former mass uses strict canon at the fifth between "superius" and "tenor," as well as a head motive in most movements.
In most of the rondeaux, the uppermost voice (the superius) was texted, and the other voices were most likely played by instruments.
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.
It has consistent superius and tenor parts, and a varying and clearly non-integral countertenor.
This is partly imitative, and has a superius that is particularly faithful to its chant.
As in the first section, superius paraphrase prevails.
