=001  1000002326
=031  ##$a2$b27$c1$eco[n] la suseque[n]te facciata no[n] troppo vsitato da Compositore, perche apporta in se stesso gran difficultà.$gC-1$oc/$p9-9-1-1G(A)G2AB''C'AB1''C2'B1''C'2B$qCantus - Altus$tOsanna in excelsis
=031  ##$a2$b27$c2$eco[n] la suseque[n]te facciata no[n] troppo vsitato da Compositore, perche apporta in se stesso gran difficultà.$gC-4$oc/$p,1G(A)G2AB'C,AB1'C,2BA1'D4C,BAB1'C2,B1A2B1'C,2B1A2G$qTenor - Bassus$tOsanna in excelsis
=040  ##$aAuArU$beng
=100  1#$aAgostini, Paolo$d1583-1629$02494
=240  10$aCanon à 4: Osanna $m4vv$0682
=245  10$aCanon à 4
=260  ##$c1627$801
=500  ##$aDouble canon. Letter names indicate entry of comites. Presa signs indicate endings of comites. Translation of rubric: Along with the following example, [this canonic technique is] not often used by composers because of the great difficulty.
=590  ##$avocal parts$bp. 32$801
=593  ##$aPrint$801
=599  ##$aUnclear why Agostini includes a rubric comment on the difficulty of this and the following example: there are other similar examples earlier in this collection; also, double canons are commonly found from c.1500 onwards. Perhaps this comment happened to be placed here and could have been put with an earlier similar example.
=650  07$aCanon$09
=650  07$aMass Section$012
=695  ##$ainterval canon$b1$c2$dex$e4th$fbelow$g1$hsemibreve(s)$oc/$02069
=695  ##$ainterval canon$b1$c2$dex$e4th$fbelow$g1$hsemibreve(s)$oc/$02069
=773  18$w1000002257