Source of duos: Demantius (1607)

contents
	rubric	notes	concordances	modern editions
1.	1. Fuga ex unisono post Minimam.	Canon at the unison after a minim.	Demantius (1656), 19.	Vellek, Demantius
2.	2. In Hypodiapasan [sic] post tempus.	Canon at the octave below after a breve.	Demantius (1656), 26.
3.	3. In Homophonia post [brevem].	Canon at the unison after a breve. In the rubric, the breve value is represented by the actual note head.	Demantius (1656), 36.
4.	4. In unisono, post tempus.	Canon at the unison after a breve.	Demantius (1632). Demantius (1656), 25	Mönk, Demantius Vellek, Demantius
5.	5. In Epidiapente post [brevem].	Canon at the fifth above after a breve. In the rubric, the breve value is represented by the actual note head.	Demantius (1632). Demantius (1656), 23	Mönk, Demantius Vellek, Demantius
6.	58. Per contrarium motum ex septima.	Canon by inversion at the seventh above after a breve. The rubric and the numbering are found in the later editions only.	Demantius (1656), 58.
7.	7. In Epidiapason post sesquitempus.	Canon at the octave above after three semibreves.	Demantius (1656), 69
8.	8. In Epidiapason post Semibrevem.	Canon at the octave above after a breve.	Demantius (1656), 70
9.	12. Duarum post Minimam.	Canon at the unison after a minim.	Demantius (1656), 45
10.	13. Alia duarum in Epidiapente post tempus.	Canon at the fifth above after a breve.	Demantius (1656), 59
11.	14. Duarum in Homophonia post Brevem.	Canon at the unison after a breve.	Demantius (1656), 11	Vellek, Demantius
12.	15. In Hypodiapason post tempus.	Canon at the octave below after a breve.	Demantius (1656), 14
13.	16. Alia in Epidiapason.	Canon at the octave above after a breve.	Demantius (1656), 61
14.	17. Alia duarum in Epidiapason post tactum.	Canon at the octave above after a semibreve.	Demantius (1656), 72	Mönk, Demantius
	Canons found in the later editions only.
15.	1. Fugo [sic] in Unisono, oder in gleichem Thon / post tactum.	Canon at the unison after a semibreve.		Vellek, Demantius
16.	2. Idem in Unisono post Minimam.	Canon at the unison after a minim.		Vellek, Demantius
17.	3. Alia in Unisono post sesquitempus.	Canon at the unison after three semibreves.
18.	4. Alia post sesquitempus.	Canon at the unison after three semibreves.
19.	5. Alia post tempus.	Canon at the unison after a breve.		Vellek, Demantius
20.	6. In Hypodiapente, oder eine quinta niedriger.	Canon at the fifth below after a breve.
21.	7. Alia in Hypodiapente post tempus.	Canon at the fifth below after a breve.		Vellek, Bicinia I Vellek, Demantius
22.	8. Alia in Hypodiapente post brevem.	Canon at the fifth below after a breve.		Vellek, Demantius
23.	9. In Hypodiapason post sesquitempus	Canon at the octave below after three semibreves. Nos. 23 and 24 share the same theme.
24.	10. Alia in Hypodiapason, post sesquitempus.	Canon at the octave below after three semibreves. Nos. 23 and 24 share the same theme.
25.	12. Alia post sesquitempus, in homophonia.	Canon at the unison after three semibreves.
26.	11. [sic] In Hypodiatesseron, oder eine quart niedriger / post tactum.	Canon at the fourth below after a semibreve. The progressive number should be «13».		Vellek, Demantius
27.	15. In Hypodiapason post sesquitempus.	Canon at the octave below after three semibreves.
28.	16. In unisono post tria tempora.	Canon at the unison after three breves.		Vellek, Demantius
29.	17. Alia unisona post sesquitempus.	Canon at the unison after three semibreves.
30.	18. Alia post sesquitempus.	Canon at the unison after a breve. The rubric is incorrect.
31.	20. Alia ex unisono post sesquitempus.	Canon at the unison after three semibreves.
32.	21. Alia in Hypodiatessaron post tactum.	Canon at the fourth below after a semibreve.
33.	22. Alia in Epidiapente post tempus.	Canon at the fifth above after a breve.		Vellek, Demantius
34.	24. Fuga in Hypodiatessaron post duo tempora.	Canon at the fourth below after two breves.
35.	27. In unisono post bina tempora.	Canon at the unison after two breves.
36.	28. Alia in unisono post tempus.	Canon at the unison after a breve.		Vellek, Demantius
37.	29. alia unisona post tactum.	Canon at the unison after a semibreve.
38.	30. Alia post tempus.	Canon at the unison after a breve.
39.	31 Alia unisona post bina tempora.	Canon at the unison after two breves.
40.	32. Alia post sesquitempus.	Canon at the unison after three semibreves.
41.	33. In unisono post duo tempora.	Canon at the unison after two breves. Nos. 41, 43, 44 and 53 are all based on the Lutheran psalm «Vater unser im Himmelreich».		Mönk, Demantius
42.	34. Alia post duo tempora.	Canon at the unison after two breves.
43.	35. Alia duarum post tempus.	Canon at the unison after a breve. Nos. 41, 43, 44 and 53 are all based on the Lutheran psalm «Vater unser im Himmelreich».		Mönk, Demantius
44.	37. Tripla prolationis in homophonia post 3. tactus.	Canon at the unison after nine minims. Nos. 41, 43, 44 and 53 are all based on the Lutheran psalm «Vater unser im Himmelreich».		Mönk, Demantius
45.	38. In Epidiapente post sesquitempus.	Canon at the fifth above after three semibreves.
46.	39. Alia unisona post tempus.	Canon at the unison after a breve.
47.	40. Alia post sesquitempus.	Canon at the unison after three semibreves.		Mönk, Demantius
48.	41. Duarum ex unisono post Longam.	Canon at the unison after a longa.		Mönk, Demantius Vellek, Demantius
49.	42. Duarum in Hypodiapason post brevem.	Canon at the octave below after a breve. The soprano clef is malpositioned on the second line.		Vellek, Demantius
50.	43. Alia in Hypodiapason post tempus.	Canon at the octave below after a breve. The soprano clef is malpositioned on the second line.
51.	44. Alia in Hypodiapason post longam.	Canon at the octave below after a longa.
52.	46. Fuga in Epidiatessaron post sesquitempus.	Canon at the fourth above after three semibreves.
53.	47. In Hypodiapente post duo tempora.	Canon at the fifth below after two breves. Nos. 41, 43, 44 and 53 are all based on the Lutheran psalm «Vater unser im Himmelreich».
54.	48. Fuga in unisono post tempus.	Canon at the unison after a breve.
55.	49. Proportio vel Tripla Brevium post duos tactus.	Canon at the unison after six semibreves.		Mönk, Demantius
56.	50. Hemiola vel Tripla brevium ex unisono post tactum.	Canon at the unison after three semibreves.
57.	51. Tripla prolationis post tactum.	Canon at the unison after three minims.		Vellek, Demantius
58.	52. Hemiola prolationis post tactum.	Canon at the unison after three minims.
59.	53. Ex unisono post tempus.	Canon at the unison after a breve.
60.	54. Fuga duarum post tactum in unisono.	Canon at the unison after a semibreve.
61.	55. Alia unisona post tactum.	Canon at the unison after a semibreve.
62.	56. In unisono post tempus.	Canon at the unison after a breve.
63.	57. Alia post tempus.	Canon at the unison after a breve.
64.	60. In epidiapason post brevem.	Canon at the octave above after a breve.
65.	62. In unisono post tempus.	Canon at the unison after a breve.
66.	63. In Epidiapason post tempus.	Canon at the octave above after a breve.
67.	64. Alia in epidiapason post tactum.	Canon at the octave above after a semibreve. The incipit is the same as No. 8.
68.	66. In Epidiapason post tactum.	Canon at the octave above after a semibreve.
69.	67. In epidiapason post longam.	Canon at the octave above after a longa.
70.	68. In epidiapason post sesquitempus.	Canon at the octave above after three semibreves. The incipit is the same as No. 7.
71.	71. Alia post tactum.	Canon at the octave above after a semibreve.		Mönk, Demantius
72.	73. Idem in epidiapason post duo tempora.	Canon at the octave above after two breves.		Mönk, Demantius
73.	74. Alia in ediapason [sic] post sesquitempus.	Canon at the octave above after three semibreves.		Mönk, Demantius
74.	99. Alia Duarum in Epidiapason post sesquitempus. «Gloria in excelsis DEO»	Canon at the octave above after three semibreves.

Johann Christoph Demantius, Isagoge artis musicae ad incipientium captum maxime accomodata (Valentin Fuhrmann, Nuremberg 1607)
73 textless canons plus one with Latin text. There are several editions of the treatises, and the canons are found in their appendices. So far, all the information I have gathered is taken from the 1607 and the 1656 editions. All the partial modern editions known to me – Mönk, Demantius, Vellek, Bicinia I and Vellek, Demantius – used as source the 1632 edition, which I have to analyze yet, and which appears to be the richest of canons. In the 1607 edition (apparently the first issue of this treatise), there are 14 textless canons in two parts plus a few canons for more than two voices. They follow the title: «Folgen nun mancherley art Fugen wie man mutiren un abwechßlen soll beydes in Cantu beduro, und Cantu bmolli». In the 1656 edition, there are all the canons already published in the first issue plus other 60 canons in two parts, not counting the ones for more than two voices. The title in German is preceded by its Latin version: «SEQVUNTUR VARII GENERIS FVGAE, quomodo mutare et variare debeamus, tàm in Canto beduro quàm in Cantu b molli.» Some canons share the same incipit and a few of them are based on the Luther psalm «Vater unser im Himmelreich»; this causes me to think that other canons borrow their themes from known melodies.	contents – facsimiles – reprints

reprints
Christophorus Demantius: Isagoge artis musicae. Norimberg 1607. Dictionarium Musicum. A Series of Facsimilé-Reprints of Early Music Dictionaries, 3 (Uitgeverij Frits Knuf, Buren (Neatherland) 1975)	This facsimile edition reproduces the copy of the 1607 edition found in the British Library, London.