Source of duos: Beringer (1610)

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List by composer: Anonymous (1) asola (3) beringer (18) gumpelzhaimer (23) lasso (23)

List all the contents
	rubric	notes	concordances	modern editions
1.	I. In Unisono.	This duo belongs to a series of eight brief canons employed as introductory exercises of solmization.	Gumpelzhaimer (1591), 11
2.	I. In Unisono.	This duo belongs to a series of eight brief canons employed as introductory exercises of solmization.
3.	II.	This duo belongs to a series of eight brief canons employed as introductory exercises of solmization.
4.	II.	This duo belongs to a series of eight brief canons employed as introductory exercises of solmization.	Gumpelzhaimer (1591), 12
5.	III. In Unisono.	This duo belongs to a series of eight brief canons employed as introductory exercises of solmization.
6.	III. In Unisono.	This duo belongs to a series of eight brief canons employed as introductory exercises of solmization. Compared to Gumpelzhaimer's, the canon is in C with a flat.
7.	IIII.	This duo belongs to a series of eight brief canons employed as introductory exercises of solmization.
8.	IIII.	This duo belongs to a series of eight brief canons employed as introductory exercises of solmization.
9.	I. In Subdiapason. In Hexachordo Servo. «In dich hab ich gehoffet Herr»		Gumpelzhaimer (1611), 7
10.	In eodem [= natural] Hexachordo mit einer Noten nechst über das La. In subdiapason. «Quemadmodum desiderat cervus ad fontes aquarum»	The canon is employed as solmization exercise to show the «fa supra la» rule.
11.	In Hexachordo Molli. In Subdiapason. «Domine in multitudine misericordiae tuae»		Gumpelzhaimer (1611), 26
12.	II. In Unisono. In Hexachordo Servo: «Ecce nunc benedicite Domino»		Gumpelzhaimer (1611), 9
13.	In Hexachordo duro. In Unisono. «Cantate Domino Canticum novum laus ejus»		Gumpelzhaimer (1611), 11
14.	III. In Hexachordo molli. In Unisono. «Laetatus sum in his»		Gumpelzhaimer (1611), 10
15.	In eodem Hexachordo mit einer Noten nechst über das La. In [sub]Diapason. «Conserva me Domine»		Gumpelzhaimer (1611), 30
16.	In Hexachordo Servo. In [sub]Diapason. «Iesu nostra redemptio, amor & desiderium»		Gumpelzhaimer (1611), 13
17.	IIII. In Hexachordo Duro. In [sub]Diapason. «Commendo me»		Gumpelzhaimer (1611), 12
18.	In eodem Hexachordo mit einer Noten nechst über das La. In [sub]Diapason. «Domine Fili Dei vivi»		Gumpelzhaimer (1611), 14
19.	In Hexachordo Servo. In [sub]Diapason. «Christe der du bist Tag und Liecht»		Gumpelzhaimer (1611), 8
20.	I. In Unisono.	This brief canon is employed as introductory exercise of solmization for music that spans two exachords.
21.	In Unisono. «Benedicam Domino in omni tempore»	This setting is a fourth above and slightly departs in the last bars from Gumpelzhaimer's version.	Gumpelzhaimer (1611), 48
22.	In Unisono. «In Domino laudabitur anima mea»	Second part of the previous duo. This setting is a fourth above compared to Gumpelzhaimer's version.	Gumpelzhaimer (1611), 49
23.	In Unisono.	Textless version compared to Gumpelzhaimer's one.	Gumpelzhaimer (1611), 23
24.	In Unisono.
25.	In Unisono.
26.	In Unisono.	This brief canon is employed as introductory exercise of solmization for music that spans two exachords.
27.	In [sub]Diapason. «Quàm dilecta tabernacula tua Domine»
28.	In Unisono.
29.	In [sub]Diapason.
30.	In [sub]Diapason.
31.	In Unisono.	Textless version a fifth above compared to Gumpelzhaimer's one.	Gumpelzhaimer (1611), 57
32.	In Unisono.	This brief canon is employed as introductory exercise of solmization for music that spans two exachords.
33.	In Unisono. «Ich rüff zu dir Herr Jesu Christ»		Gumpelzhaimer (1611), 33
34.	[Asola, «Quest'è compagn'eterno»] In Unisono	Transposed a fourth above and textless compared to the original version by Asola.	Asola (1584), 22 Gumpelzhaimer (1591) Gumpelzhaimer (1611), 58	Bornstein, Asola Giuliani, Asola Thomas, Asola
35.	In Unisono.
36.	In Unisono.	This brief canon is employed as introductory exercise of solmization for music that spans two exachords.
37.	In [sub]Diapason. «Scio enim quod Redemptor meus vivit»		Gumpelzhaimer (1611), 22
38.	In [sub]Diapason.
39.	In [sub]Diapason. Proportio Tripla. / Proportio Sesquialtera.	Textless version compared to Gumpelzhaimer's one.	Gumpelzhaimer (1611), 5
40.	In [sub]Diapason. Proportio Tripla. / Proportio Sesquialtera.	Textless version compared to Gumpelzhaimer's one.	Gumpelzhaimer (1611), 4
41.	In [sub]Diapason. Proportio Tripla. / Proportio Sesquialtera.	This canon is employed as textless example of proportions in black notation in two different exercises.	Gumpelzhaimer (1611), 2
42.	In unisono. Proportio Tripla. / Proportio sesquialtera.	This canon is employed as textless example of proportions in two different exercises.	Gumpelzhaimer (1611), 46
43.	In Unisono. Proportio Tripla. / Proportio Sesquialtera.	This canon is employed as textless example of proportions in two different exercises.
44.	[Asola, «Eterno foco vivo»] In [sub]Diapason. Proportio Tripla. / Proportio Sesquialtera.	Textless version compared to the original version by Asola. The same music is employed in two different exercises.	Asola (1584), 34 Gumpelzhaimer (1591) Gumpelzhaimer (1611), 45	Bornstein, Asola Giuliani, Asola
45.	[Asola, «Giova mai sempr'e porge»] In [sub]Diapason. Proportio Tripla. / Proportio Sesquialtera.	Textless version compared to the original version by Asola. The same music is employed in two different exercises.	Asola (1584), 33 Gumpelzhaimer (1591) Gumpelzhaimer (1611), 44	Bornstein, Asola Giuliani, Asola
46.	«Te deprecamur largius»		Gumpelzhaimer (1591) Lindner (1591) Gumpelzhaimer (1611)	Pinthus, Lasso Sohns, Lasso
47.	«Esurientes implevit bonis»			Pinthus, Lasso Sohns, Lasso
48.	«Ipsa te cogat pietas»		Gumpelzhaimer (1591) Lindner (1591) Gumpelzhaimer (1611)	Pinthus, Lasso Sohns, Lasso Vellek, Bicinia I
49.	«Intellectum tibi dabo»		Gumpelzhaimer (1591) Lindner (1591) Gumpelzhaimer (1611)	Pinthus, Lasso Sohns, Lasso
50.	«Auditui meo dabis gaudium»		Gumpelzhaimer (1591) Lindner (1591) Gumpelzhaimer (1611)	Pinthus, Lasso Sohns, Lasso
51.	«Esurientes implevit bonis»			Pinthus, Lasso Sohns, Lasso
52.	«Beata cujus brachiis»		Gumpelzhaimer (1591) Lindner (1591) Gumpelzhaimer (1611)	Pinthus, Lasso Sohns, Lasso Vellek, Bicinia I
53.	«Discedite à me omnes»		Lindner (1591) Gumpelzhaimer (1611)	Pinthus, Lasso Sohns, Lasso Vellek, Bicinia I
54.	«Quoniam qui talia agunt»		Gumpelzhaimer (1591) Lindner (1591) Gumpelzhaimer (1611)	Akos, Schola Pinthus, Lasso Sohns, Lasso Vellek, Bicinia I
55.	«Fecit potentiam»			Pinthus, Lasso Sohns, Lasso
56.	«Non avertas faciem tuam à me»		Gumpelzhaimer (1591) Lindner (1591) Gumpelzhaimer (1611)	Pinthus, Lasso Sohns, Lasso
57.	«Tota die exprobrabant mihi inimici mei»		Lindner (1591) Gumpelzhaimer (1591)	Pinthus, Lasso Sohns, Lasso
58.	«Scribantur haec in generatione altera»		Gumpelzhaimer (1591) Lindner (1591) Gumpelzhaimer (1611)	Pinthus, Lasso Sohns, Lasso
59.	«Fecit potentiam»			Pinthus, Lasso Sohns, Lasso
60.	«Esurientes implevit bonis»			Pinthus, Lasso Sohns, Lasso
61.	«Aegra currit ad medicum»		Gumpelzhaimer (1591) Lindner (1591), 3 Gumpelzhaimer (1611)	Pinthus, Lasso Sohns, Lasso
62.	«Expectatio justorum laetitia»		Lasso (1577), 5 Various composers (1590) Gumpelzhaimer (1591) Lindner (1591) Gumpelzhaimer (1611)	Dart, Madrigals Gát, Lasso Gabbrielli, Lasso Ghezzi, Lasso Bergquist, Lasso: Motets Pinthus, Lasso Sohns, Lasso Vellek, Lasso
63.	«Oculos non vidit»		Lasso (1577), 3 Various composers (1590) Gumpelzhaimer (1591) Lindner (1591) Gumpelzhaimer (1611)	Arx, Phalèse Gát, Lasso Gabbrielli, Lasso Ghezzi, Lasso Bergquist, Lasso: Motets Mönk, Lasso Pinthus, Lasso Sohns, Lasso Vellek, Lasso
64.	«Iustus cor suum tradet»		Lasso (1577) Various composers (1590) Gumpelzhaimer (1591) Lindner (1591) Gumpelzhaimer (1611)	Dart, Madrigals Gát, Lasso Gabbrielli, Lasso Ghezzi, Lasso Bergquist, Lasso: Motets Mönk, Lasso Pinthus, Lasso Sohns, Lasso Vellek, Lasso
65.	«Fecit potentiam»			Pinthus, Lasso Sohns, Lasso
66.	«Sicut locutus est»			Pinthus, Lasso Sohns, Lasso
67.	«Expandi manus meas ad te»		Gumpelzhaimer (1591) Lindner (1591) Gumpelzhaimer (1611)	Pinthus, Lasso Sohns, Lasso
68.	«Putruerunt & corruptae sunt cicatrices meae»		Gumpelzhaimer (1591) Lindner (1591) Gumpelzhaimer (1611)	Pinthus, Lasso Sohns, Lasso