| Parameter | Detail | |-----------|--------| | | Regina Caeli (Motto: “Regina caeli, laetare”). Placed in the tenor, long note values (breve) give a foundational stability . | | Imitation | Soprano and alto enter after the tenor, imitating the opening interval (a perfect fifth) at quarter‑note speed; the tenor’s cantus firmus provides a ground over which the other parts interlace. | | Texture | Begins polyphonic , moving toward homophony on the triple “sanctus” to accentuate the exclamation. | | Harmony | Strict modal (G Ionian) with occasional secondary dominants (e.g., D⁷) that brighten the phrase. The final cadence is a perfect authentic (V–I). | | Rhythmic Motif | A triplet figure (quarter‑triplet) appears on “sanctus, sanctus, sanctus,” reinforcing the threefold nature. | | Expressive Devices | Messa di voce on the final “Dominus Deus Sabaoth”—a swelling from piano to forte—creates a spiritual uplift that matches the Laetare joy. |

: While most Lenten music is somber and unaccompanied, the Missa Laetare often includes more melodic movement and, in many traditions, organ accompaniment to mark the midpoint of Lent.

New Rehearsal Resource: Sanctus from Missa Laetare (PDF)

Thus, a is unique because it is a joyful proclamation placed inside a penitential season. In the PDF score, you will notice that the melismas (multiple notes per syllable on "Sanctus") are lighter and more dance-like than a standard Requiem.