This article aims to shed light on aspects of Byrd’s contrapuntal technique—particularly in relation to the crafting of fuga (or imitation)—by subjecting to close analysis a small sample from his Cantiones sacrae (1589), and in so doing offers in effect a trailer for the study of the collection as a whole. A number of issues are raised which indicate some of the directions in which future research in this area might be taken. These include the extent to which material is, or appears to be, reused by Byrd within a motet or across different motets, or indeed whether it may be borrowed from another composer, although this is a subordinate consideration in relation to Byrd’s reuse of his own material. While passages may appear to resemble each other—because they use similar subjects—sometimes it is a superficial likeness only, and when one delves below the surface one finds that the fuga is constructed quite differently. Byrd’s use of fuga is often far from straightforward, and leads one to conjecture that at times there was likely to have been some kind of pre-compositional planning: duos with inbuilt cadence formulas arise, and at the same time complexes of triple (invertible) counterpoint are introduced that take the procedures to another level of intricacy.

中文翻译：

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Byrd's Cantiones scrae (1589) 中的Fuga和可逆对位：一些初步观察

本文旨在通过仔细分析来自他的Cantiones sacrae的小样本，阐明 Byrd 的对位技术的各个方面——特别是与风琴（或模仿）的制作相关的技术（1589），并且这样做实际上提供了一个用于研究整个收藏的预告片。提出了许多问题，表明该领域未来研究可能采取的一些方向。这些包括材料被或似乎被伯德在一段经文中或在不同的经文中重复使用的程度，或者实际上是否可以从另一位作曲家那里借用，尽管这是与伯德对他自己的重复使用相关的次要考虑材料。虽然通道可能会出现彼此相似，因为它们使用类似的主题，有时它是一种浅肖像只，并且当所述表面以下一个再往一个认定的风雅构造完全不同。伯德对富加的使用 通常远非直截了当，并导致人们猜测有时可能存在某种预先构图的计划：出现具有内置节奏公式的二重奏，同时引入了三重（可逆）对位的复合体将程序提升到另一个复杂程度。