Source of duos: Gumpelzhaimer (1611)
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Adam Gumpelzhaimer, Compendium musicae latino-germanicum (Valentin Schönig, Augsburg 1611)
108 bicinia and canons in Latin, Italian, German, and textless.
From No. 69 begins the series of bicinia: «SEQVVNTVR BI= / CINIA SACRA, IN VSVM IV- / ventutis Scholasticae collecta.» From this point of the treatise the two pages of the same opening bear the same page number in Arabic numerals, and the «Vox superior» and the «Vox inferior» of the duos respectively are on the left and on the right page.
From No. 102 begins the series of «Ricercari, sive Fantasiae 6. elegantes diversorum Autorum». In all likelihood, these six textless duos were taken from the missing anthology De Antiquis (1585).
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1.[f. 15r:] Iosqvinus. «Haec est vita aeterna ut cognoscant»This duo is employed as example of mensural proportions in «Caput nonum de proportionibus». The solution is given on f. 15v: «Sequuntur resolutiones illarum vocum». In 1591 and 1595 editions the duo is textless.

2.[f. 15v: Adam Gumpelzhaimer.] «Pax est bonum». [in the Tavola:] «In subdiapason»This duo is employed as example of «Proportio Tripla» in «Caput nonum de proportionibus». In 1591 and 1595 editions the duo is textless. Gumpelzhaimer (1591), 7
Beringer (1610), 41
3.[f. 15v: Adam Gumpelzhaimer.] Fuga in subdiapente. à 2. voc. «Non nobis Domine»This duo is employed as example of «Proportio Quadrupla» in «Caput nonum de proportionibus». The solution is given on f. 16r: «Resolutio. à 2. voc.».

4.[f. 16r:] In subdiapason. 2. voc. «Laetabor & exultabo in te»This duo is employed as example of «Proportio Sesquialtera» in in «Caput nonum de proportionibus». In 1591 and 1595 editions the duo is textless. Gumpelzhaimer (1591), 9
Beringer (1610), 40
5.[f. 16r: Adam Gumpelzhaimer.] In subdiapason. à 2. voc. «Aperis tu manum tuam»This duo is employed as example of «Hemiolia» in «Caput nonum de proportionibus». In 1591 and 1595 editions the duo is textless. Gumpelzhaimer (1591), 10
Beringer (1610), 39
6.[f. 16r: Adam Gumpelzhaimer.] In subdiapason [sic]. 2. voc. «Mundana gloria vana». [in the Tavola:] «In subdiatessaron»The canon is at the fourth below and is employed as example of «Hemiolia» in the same chapter as above.

7.[f. 24v: Adam Gumpelzhaimer.] In subdiapason. «In dich hab ich gehoffet Herr»
 Gumpelzhaimer (1591), 19
Beringer (1610), 9
8.[f. 24v: Incer: Aut.] In subdiapason. «Christe der du bist tag und liecht»
 Gumpelzhaimer (1591), 20
Beringer (1610), 19
9.[f. 24v: Adam Gumpelzhaimer.] In unisono. «Ecce nunc benedicite Domino»
 Beringer (1610), 12
10.[f. 25r: Adam Gumpelzhaimer.] In unisono. «Laetatus sum in his»
 Beringer (1610), 14
11.[f. 25r: Adam Gumpelzhaimer.] In unisono. «Cantate Domino canticum novum»
 Beringer (1610), 13
12.[f. 25v: Adam Gumpelzhaimer.] In subdiapason. «Commendo me»
 Gumpelzhaimer (1591), 27
Beringer (1610), 17
13.[f. 25v: Adam Gumpelzhaimer.] In subdiapason. «Iesv nostra redemptio, amor & desiderium»
 Beringer (1610), 16
14.[f. 26r: Adam Gumpelzhaimer.] In subdiapason. «Domine fili Dei vivi»
 Gumpelzhaimer (1591), 28
Beringer (1610), 18
15.[f. 26r: Adam Gumpelzhaimer.] In [sub]diapason. «Patrem omnipotentem factorem coeli & terrae»
Gumpelzhaimer (1591), 29Akos, Schola
16.[f. 26v: Adam Gumpelzhaimer.] In unisono. «De terra Christus ascendit ad coelos»
 Gumpelzhaimer (1591), 30
17.[f. 26v: Adam Gumpelzhaimer.] In [sub]diapason. «Adjuva nos Deus salutaris noster»
Gumpelzhaimer (1591), 43
18.[f. 27r: Adam Gumpelzhaimer.] In subpiapason [sic]. «Vatter unser im Himmelreich»
Gumpelzhaimer (1591), 31
19.[f. 27r: Adam Gumpelzhaimer.] In homophonia. «Ich rüff zu dir Herr Jesu Christ»
Gumpelzhaimer (1591), 32
20.[f. 27v: Adam Gumpelzhaimer.] In unisono. «O Herr nimm von mir»
Gumpelzhaimer (1591), 35
21.[f. 27v: Adam Gumpelzhaimer.] In unisono. «Benedictus qvi venit»
Gumpelzhaimer (1591), 36
22.[f. 28r: Adam Gumpelzhaimer.] In subdiapason. «Scio enim qvod redemptor»
 Gumpelzhaimer (1591), 39
Beringer (1610), 37
23.[f. 28v: Adam Gumpelzhaimer.] In ὁμοφωμία. «Hodie Christus natus est»The signum congruentiae was erroneously placed on the 5th note (minim D). Gumpelzhaimer (1591), 40
Beringer (1610), 23
24.[f. 28v-29r: Adam Gumpelzhaimer.] In ὁμοφωμία. «Dvo rogavi te ne deneges»
Gumpelzhaimer (1591), 41
25.[f. 29v: Adam Gumpelzhaimer.] In unisono. «Benedic Domine nos»
Gumpelzhaimer (1591), 46
26.[f. 29v: Adam Gumpelzhaimer.] In [sub]diapason. «Domine in multitudine misericordiae tuae»
 Gumpelzhaimer (1591), 48
Beringer (1610), 11
27.[f. 30r:] A. G. In homophonia. «Cantate Domino canticum novum qvia mirabilia»
Gumpelzhaimer (1591), 54
28.[f. 30v:] A. G. In ὁμοφωμία. [in the Tavola:] Fantasia in F
Gumpelzhaimer (1591), 55
29.[f. 31v:] A. G. In unisono. «Benedictus qui venit»
Gumpelzhaimer (1591), 56
30.[f. 31v:] A. G. In [sub]diapason. «Conserva me Domine»
 Gumpelzhaimer (1591), 57
Beringer (1610), 15
31.[f. 32r:] A. G. In subdiapason. «Herr Gott himmlischer Vater»
Gumpelzhaimer (1591), 61
32.[f. 32r:] A. G. In subdiapason. «Wir danken dir Herr Gott vater»
Gumpelzhaimer (1591), 62Akos, Schola
33.[f. 32v:] A. G. In unisono. «Ich rüff zu dir Herr Jesu Christ»
 Gumpelzhaimer (1591), 59
Beringer (1610), 33
34.[f. 32v:] A. G. In [sub]diapason. «O summe rerum conditor»
Gumpelzhaimer (1591), 63
35.[f. 33r:] A. G. In subdiapason. «Millia qvi parvo satiasti corpora pastu»
Gumpelzhaimer (1591), 60
36.[f. 33v:] A. G. In unisono. «Ecce radix Iesse»
Gumpelzhaimer (1591), 64
37.[f. 34r:] A. G. In homophonia. «Confirma hoc o Deus»
Gumpelzhaimer (1591), 65
38.[f. 35r:] A. G. In unisono. «Qvi nos creavit, redemit & pavit»
Gumpelzhaimer (1591), 67
39.[f. 35r:] A. G. In subdiapason. «Lerne Gottes forcht vor allen dingen»
Gumpelzhaimer (1591), 68
40.[f. 35v:] A. G. In unisono. «Confirma hoc o Deus»
Gumpelzhaimer (1591), 74
41.[f. 36r:] A. G. In unisono. [in the Tavola:] Tres Fantasiae in D.C.&B.Despite the caption found in the Tavola, the three fantasias respectively end in D, A and G.Gumpelzhaimer (1591), 75
42.[f. 36r-36v:] A. G. In unisono. [in the Tavola:] Tres Fantasiae in D.C.&B.Despite the caption found in the Tavola, the three fantasias respectively end in D, A and G.Gumpelzhaimer (1591), 76
43.[f. 36v-37r:] A. G. In unisono. [in the Tavola:] Tres Fantasiae in D.C.&B.Despite the caption found in the Tavola, the three fantasias respectively end in D, A and G.Gumpelzhaimer (1591), 77
44.[f. 37r:] Matth: Asola. Fuga di un tempo perfetto una ottava piu Basso. «Giova mai sempr'e porge»
 Asola (1584), 33
Gumpelzhaimer (1591), 78
Beringer (1610), 45		Bornstein, Asola
Giuliani, Asola
45.[f. 37v:] Matteo Asola. Fuga di un tempo, una ottava piu Basso. «Eterno foco vivo»
 Asola (1584), 34
Gumpelzhaimer (1591), 79
Beringer (1610), 44		Bornstein, Asola
Giuliani, Asola
46.[f. 37v:] A. G. Fuga In unisono. «Clamavi ad te in tribulatione mea»
 Beringer (1610), 42
47.[f. 38r:] A. G. In unisono. «Benedictus Dominus ex Sion»
Gumpelzhaimer (1591), 80
48.[f. 38v:] A. G. Fuga In unisono. «Benedicam Domino in omni tempore»
 Gumpelzhaimer (1591), 81
Beringer (1610), 21
49.[f. 38v:] Secunda pars. In unisono. «In Domino laudabitur anima mea»2nd part of the No. 48. Gumpelzhaimer (1591), 82
Beringer (1610), 22
50.[f. 39r:] A. G. In unisono. «Benedic anima mea Domino»
Gumpelzhaimer (1591), 84
51.[f. 39r:] A. G. Canon: primi erunt ultimi, & ultimi primi. «Gott schöpffer aller ding auff erdt». [in the Tavola:] In subdiapenteThe motto means that the comes must begin before the dux.

52.[f. 39v:] Matteo Asola. Fuga di un tempo, una quinta piu Basso comincia. «Ma quel c'ha cura de tutte le cose»
 Asola (1584), 12Bornstein, Asola
Giuliani, Asola
53.[f. 40r:] A. G. In unisono. [in the Tavola:] Sex voces MusicalesThis canon is employed as solmization exercise.Gumpelzhaimer (1591), 89
54.[f. 40r:] A. G. In Epidiapason. «Vias tuas Domine demonstra mihi»
Gumpelzhaimer (1591), 91
55.[f. 40v:] A. G. In diatessaron. «Veni sancte Spiritus»In the Tavola: «In epidiatessaron».Gumpelzhaimer (1591), 90
56.[f. 41r:] A. G. In unisono. [in the Tavola:] Sex voces MusicalesThis canon is employed as solmization exercise.Gumpelzhaimer (1591), 92
57.[f. 41r:] A. G. In unisono. «Geht hin in alle Welt»
 Gumpelzhaimer (1591), 93
Beringer (1610), 31
58.[f. 41r-41v:] Matthaeo Asola. Fuga di un tempo all unisono. «Quest'è compagn'eterno»Transposed a fifth below with a flat, compared to Asola's original version. Asola (1584), 22
Gumpelzhaimer (1591), 94
Beringer (1610), 34		Bornstein, Asola
Giuliani, Asola
Thomas, Asola
59.[f. 42r:] A. G. In unisono. [in the Tavola:] Sex voces MusicalesThis canon is employed as solmization exercise.Gumpelzhaimer (1591), 96
60.[f. 42v:] A. G. In unisono. «Gloria in excelsis Deo»
Gumpelzhaimer (1591), 98
61.[f. 43r:] A. G. In unisono. [in the Tavola:] Sex voces MusicalesThis canon is employed as solmization exercise.
62.[f. 43v:] A. G. In Epidiapason. «Devs, qvi superbis resistis»
Gumpelzhaimer (1591), 103
63.[f. 44r:] A. G. In unisono. [in the Tavola:] Mutatio vocum, Bas. Ten: Disc:This canon is meant to be performed reading the parts in different sets of clefs and key-signatures.Gumpelzhaimer (1591), 104
64.[f. 44r:] A. G. Fuga In unisono. [in the Tavola:] Mutatio vocum, Bas. Ten: Disc:This canon is meant to be performed reading the parts in different sets of clefs and key-signatures.Gumpelzhaimer (1591), 105
65.[f. 44v:] A. G. In unisono. [in the Tavola:] Mutatio vocum, Bas. Ten: Disc:This canon is meant to be performed reading the parts in different sets of clefs and key-signatures.Gumpelzhaimer (1591), 106
66.[f. 44v:] A. G. In unisono. [in the Tavola:] Mutatio vocum, Bas. Ten: Disc:This canon is meant to be performed reading the parts in different sets of clefs and key-signatures.Gumpelzhaimer (1591), 107
67.[f. 45r:] A. G. In unisono. [in the Tavola:] Mutatio vocum, Bas. Ten: Disc:This canon is meant to be performed reading the parts in different sets of clefs and key-signatures.Gumpelzhaimer (1591), 108
68.[f. 45r:] A. G. In unisono. [in the Tavola:] Mutatio vocum, Bas. Ten: Disc:This canon is meant to be performed reading the parts in different sets of clefs and key-signatures.Gumpelzhaimer (1591), 109
69.[f. 45v:] Ioan: Leo Hasler. «Vanitas vanitatum»«Canon per augmentatione» – i.e. proportional canon – similar to those by Josquin.
Akos, Schola
70.[f. 47:] Orlandi di Lassus. «Oculos non vidit»
 Lasso (1577), 3
Various composers (1590), 5
Gumpelzhaimer (1591), 114
Lindner (1591), 15
Beringer (1610), 63		Arx, Phalèse
Gát, Lasso
Gabbrielli, Lasso
Ghezzi, Lasso
Bergquist, Lasso: Motets
Mönk, Lasso
Pinthus, Lasso
Vellek, Lasso
71.[f. 47:] «Iustus cor suum tradet»
 Lasso (1577), 4
Various composers (1590), 6
Gumpelzhaimer (1591), 115
Lindner (1591), 16
Beringer (1610), 64		Dart, Madrigals
Gát, Lasso
Gabbrielli, Lasso
Ghezzi, Lasso
Bergquist, Lasso: Motets
Mönk, Lasso
Pinthus, Lasso
Vellek, Lasso
72.[f. 48:] Orlandi di Lassus. «Dirige nos, Domine in veritate tua»
 Gumpelzhaimer (1591), 116
Lindner (1591), 17
73.[f. 48:] «Expandi manus meas ad te»
 Gumpelzhaimer (1591), 117
Lindner (1591), 18
Beringer (1610), 67
74.[f. 48: Adam Gumpelzhaimer.] «Benedictus qvi venit»
Gumpelzhaimer (1591), 118
75.[f. 49: Adam Gumpelzhaimer.] «O herr nimm von mir»
Gumpelzhaimer (1591), 119
76.[f. 49: Adam Gumpelzhaimer.] «Crucifixus etiam pro nobis»Not in the 1595 print.
77.[f. 50:] A. G. Ex Orlandi di Lassus. 5. voc. in duas redactum. Prima pars. «Cantate Domino canticum novum, qvia mirabilia»Elaborations of the first part of this Lasso's motet.Gumpelzhaimer (1591), 121
Lindner (1591), 1
78.[f. 51: Adam Gumpelzhaimer.] Secunda pars. «Viderunt omnes termini terrae»Elaborations of the second part of this Lasso's motet.Gumpelzhaimer (1591), 122
79.[f. 51: Adam Gumpelzhaimer.] «Benedictus qvi venit»
Gumpelzhaimer (1591), 123
80.[f. 52:] Orlandi di Lassus. «Scribantur haec in generatione altera»
 Gumpelzhaimer (1591), 124
Lindner (1591), 2
Beringer (1610), 58		Pinthus, Lasso
81.[f. 52:] [Orlando di Lasso.] «Aegra currit ad medicum»
 Gumpelzhaimer (1591), 125
Lindner (1591), 3
Beringer (1610), 61		Pinthus, Lasso
82.[f. 52:] [Orlando di Lasso.] «Non avertas faciem tuam à me»
 Gumpelzhaimer (1591), 126
Lindner (1591), 5
Beringer (1610), 56		Pinthus, Lasso
83.[f. 53:] Orlandi di Lassus. «Expectatio iustorum laetitia»
 Lasso (1577), 5
Various composers (1590), 7
Gumpelzhaimer (1591), 127
Lindner (1591), 6
Beringer (1610), 62		Dart, Madrigals
Gát, Lasso
Gabbrielli, Lasso
Ghezzi, Lasso
Bergquist, Lasso: Motets
Pinthus, Lasso
Vellek, Lasso
84.[f. 53: Adam Gumpelzhaimer,] «Verdamme niemand»
Gumpelzhaimer (1591), 128
85.[f. 54:] Orlandi di Lassus. «Quoniam qvi talia agunt»
 Gumpelzhaimer (1591), 131
Lindner (1591), 31
Beringer (1610), 54		Akos, Schola
Pinthus, Lasso
Vellek, Bicinia I
86.[f. 54: Adam Gumpelzhaimer.] «Altissimi Gratia Tantum Beat»

87.[f. 54: Adam Gumpelzhaimer.] «Laetamini in Domino, & exultate justi»
Gumpelzhaimer (1591), 133
88.[f. 55:] Adamus Gumpelzhaimer. «Ascendisti, in altum»
Gumpelzhaimer (1591), 134
89.[f. 55: Adam Gumpelzhaimer.] «Da Pacem Domine»
Gumpelzhaimer (1591), 135
90.[f. 56:] Adamus Gumpelzhaimer. «Recordare promissionis tuae»
Gumpelzhaimer (1591), 136
91.[f. 56:] [Orlando di Lasso.] «Discedite à me omnes»
 Gumpelzhaimer (1591), 137
Lindner (1591), 37
Beringer (1610), 53		Pinthus, Lasso
Vellek, Bicinia I
92.[f. 56:] [Orlando di Lasso.] «Auditui meo dabis gaudium»
 Gumpelzhaimer (1591), 138
Lindner (1591), 38
Beringer (1610), 50		Pinthus, Lasso
93.[f. 57:] [Orlando di Lasso.] «Beata cujus brachijs»
 Gumpelzhaimer (1591), 139
Lindner (1591), 34
Beringer (1610), 52		Pinthus, Lasso
Vellek, Bicinia I
94.[f. 57: in the Tavola:] Iosqvin. «Per illud ave prolatum»
 Various composers (1545-a), 29
Glareanus (1547), 24
Various composers (1571), 4
Various composers (1590), 4
Gumpelzhaimer (1591), 140
Lindner (1591), 39
Munich MS 260, 8		 Arx, Phalèse
Bellin, Rhau
Bellin, Ms. 260
Dart, Madrigals
Pudelko, Bicinia
Vellek, Bicinia I
95.[f. 58:] Orlandi di Lassus. «Intellectum tibi dabo»
 Gumpelzhaimer (1591), 141
Lindner (1591), 24
Beringer (1610), 49		Pinthus, Lasso
96.[f. 58: Adam Gumpelzhaimer.] «Spiritus sancti gratia»
Gumpelzhaimer (1591), 142
97.[f. 58: Adam Gumpelzhaimer.] «O Lux beata Trinitas»
Gumpelzhaimer (1591), 143
98.[f. 58: Adam Gumpelzhaimer.] «Dominus regit me»
Gumpelzhaimer (1591), 132
99.[f. 59:] Orlandi di Lassus. «Ipsa te cogat pietas»
 Gumpelzhaimer (1591), 144
Lindner (1591), 25
Beringer (1610), 48		Pinthus, Lasso
Vellek, Bicinia I
100.[f. 59:] [Orlando di Lasso.] «Te deprecamur largius»
 Gumpelzhaimer (1591), 145
Lindner (1591), 26
Beringer (1610), 46		Pinthus, Lasso
101.[f. 60:] Iacob: Reineri. «Expandi manus meas ad te»
 Gumpelzhaimer (1591), 112
Lindner (1591), 14
102.[f. 60:] [Orlando di Lasso.] «Putruerunt & corruptae sunt cicatrices meae»
 Gumpelzhaimer (1591), 113
Lindner (1591), 13
Beringer (1610), 68		Pinthus, Lasso
103.[f. 61:] Pomponio Nenna.Upper part: «Canto. Vox superior». Lower part: «Tenore». Various composers (1590), 48
Various composers (1686), 15		Bornstein, Baresi
Dart, Madrigals
Thomas, Duos
104.[f. 62:] Gio: Pietro Gallo.Upper part: «Canto». Lower part: «Tenore». Various composers (1686), 22Bornstein, Baresi
105.[f. 63:] Giovanni de Antiquis.Upper part: «Canto». Lower part: «Tenore». Various composers (1686), 18Bornstein, Baresi
Doflein, Bicinien
106.[f. 64:] Stephano Felis.Upper part: «Canto». Lower part: «Tenore».
Bornstein, Baresi
107.[f. 65:] Cola Vincenzo Fanelli.Upper part: «Tenore». Lower part: «Basso». Lindner (1591), 80Bornstein, Baresi
108.[f. 66:] D'Incerto.Upper part: «Tenore». Lower part: «Basso». Lindner (1591), 79Bornstein, Baresi
literature
Bologna: Civico Museo Bibliografico Musicale, Catalogo Gaspari online.See the related record from the online database of this library.
notes

Several duos are attributed only in the Tavola. In this case we decided to write the name of the composer (often Gumpelzhaimer himself) between square brackets.

All the canons «in diapason» are in fact «in subdiapason», i.e. at the octave below.

Gallery of images from this source
Title-page 1595 Dedication 1595 Tavola 1595 (1) Tavola 1595 (2) Tavola 1595 (3)
Title-page 1611 Dedication 1611 Tavola 1611 (1) Tavola 1611 (2) Tavola 1611 (3)

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