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Most of these tenors are presented without a canon, leaving the tenor singer to coordinate his part with the mensurations of the upper voices.
In the second and third sections of the motet, this same procedure is followed in the mensurations and which allows the tenor to coordinate with the other voices.
If mensuration signs are passive markers, they merely mark a spot, pointing to phenomena that would exist even if signs for them did not.
All the long rests have been divided into breve rests in order to show the difference in mensuration between the voices more clearly.
Finally, as for its musical technique - especially in the text-setting and in the mensuration - it belongs fully to the motet style of the fourteenth century and follows a contemporaneous model.
As a result there is a difference in mensuration in the diminished part of the motet: perfect time in the tenor, imperfect time in the upper voices.
Under the mensuration and imperfect modus, each of the opening breve rests, when doubled, corresponds to twelve minims, or a dotted semibreve rest in conventional modern transcription.
The more fundamental characteristics of mensural practice - mensuration signs, ligatures, coloration and so on - still require transcription if an edition is to make sense to all.
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