=001  1000002296
=031  ##$a2$b4$c1$econ osservazione di Contrapunto alla 12. & varia in 3. modi; fondato, sopra la sol, fa, mi, re, vt. Il soprano canta 5. voci più alte, & ancora pole cominciare da piedi, in G. sol, re, vt. & cantare senza che le altre parte si molino, si riuolta tutto come si vedrà all seguente facciata. Quattro Alti, che cantano vna voce più bassa$gC-4$oc$p9,AG(F)EDC9-://$qSolution 1: Bass - Tenor. Solution 2: Bass - Soprano. Solution 3: Tenor - Tenor.$tBenedictus Deus
=031  ##$a2$b4$c2$econ osservazione di Contrapunto alla 12. & varia in 3. modi; fondato, sopra la sol, fa, mi, re, vt. Il soprano canta 5. voci più alte, & ancora pole cominciare da piedi, in G. sol, re, vt. & cantare senza che le altre parte si molino, si riuolta tutto come si vedrà all seguente facciata. Quattro Alti, che cantano vna voce più bassa$gC-2$oc$p2.C4C2CC2.(D)4D2D$qAlto - Alto - Alto - Alto$tVias tuas Domine
=031  ##$a2$b4$c3$eA 6. Canon riuoltato dell facciata passata, con riuerso reale, con riuoltare il libro, & il Basso comincia da piede, & le parte da capo, doue che cantauano vna voce più bassa, cantano vna voce più alta. Riuolto. $gC-2$oc$p9,GA(B)'CDE9-://$tBenedictus Deus
=031  ##$a2$b4$c4$eA 6. Canon riuoltato dell facciata passata, con riuerso reale, con riuoltare il libro, & il Basso comincia da piede, & le parte da capo, doue che cantauano vna voce più bassa, cantano vna voce più alta. Riuolto. $gC-2$oc$p2.G4G2GG2.(F)4F2FF$tVias tuas Domine
=040  ##$aAuArU$beng
=100  1#$aAgostini, Paolo$d1583-1629$02494
=240  10$aCanon à 6$m6vv$0666
=245  10$aCanon à 6
=260  ##$c1627$801
=500  ##$aFirst two solutions based on the natural hexachord, third solution based on the hard hexachord. Solution 2: (i) the comes observes the reverse treble clef and the three breve rests before starting the retrograde of the dux up a compound fifth (19th) from the final note of the dux. (ii) All other voices in this canon are the same as in solution 1. (iii) The overall result is that the comes in solution 2 is the same as the comes in solution 1 except that it (comes 2) is an octave higher and begins one bar later. The third solution is notated on page 8. Translation of rubrics on page 7: With the observation of counterpoint at the 12th and with three solutions ["modi"]: [1] as given over la, sol, fa mi, re, ut. [2] the soprano sings five steps higher and begins on G sol, re, vt and sings without the other parts changing. [3] all parts are exchanged as can be seen on the following page. Four Altos who [each] sing one step lower. Translation of rubrics on page 8: Six parts. Canon derived from the previous version, with real reversal by turning the book upside down. The bass begins at the end and the other parts that before sang ons step lower now sing one step higher. Turned over.
=520  ##$aNotated on two staves. Duces only, with presa signs indicating entries of comites. Each staff has double barlines and repeat marks, indicating circle canons. On page 7, the first staff has an upside-down treble clef at the right-hand side of the staff, indicating that the second version of the melody on this staff involves retrograde contrary motion (i.e., the comes in solution 2).
=590  ##$avocal parts$bpp. 7-8$801
=593  ##$aPrint$801
=599  ##$aIncomplete data, double canon was auto populating. (i) The hand-written clef correction to each staff on page 8 of the BAV copy are unnecessary except that they transpose the solution by a fifth to adhere to the natural hexachord. These corrections are not found in the I-BC copy. (ii) An exact reversal of the clefs from the version notated on page 7 to the version on page 8 would require a C2 for the two-part canon (which is given) and a C4 clef for the four-part canon (a C2 is given). A C4 clef would lead to unwanted fourths between the two duces; this means that the version on page 8 is not an exact turning of the page upside down, notwithstanding the rubric ("riuerso real"). (iii) Other examples of canons with resolutions where the page of music is turned upside down have been identified by DC: Zarlino (1573), Morley (1597), Bononcini (1673), Berardi/Scacchi (1687), Zelenka (1722). See also Collins 1996 for similar examples in treatises and repertoire.
=650  07$aCanon$09
=650  07$aIntroit $060
=695  ##$apolymorphous canon$dex$01996
=695  ##$ainterval canon$b1$c2$dex$eunison$g2$hbreve(s)$oC$0452
=695  ##$ainterval canon$b1$c4$dex$e2nd$fbelow$g1, 2, 3$hbreve(s)$oc$02075
=695  ##$aretrograde contrary motion canon$b1$c2$dex$e14th$fabove$g3$hbreve(s)$oc$02076
=773  18$w1000002257