| Jacob Paix, Selectae, artificiosae et elegantes fugae duarum, trium, quator, et plurium vocum partim ex veteribus et recentibus musicis summa diligentia et accurato iudicio collectae, partim compositae (Leonhard Reinmichel, Lawingen 1587) | |
| Twelve canons and a duo by various composers. | |
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List by composer: |
| List all the contents | ||||
| rubric | notes | concordances | modern editions | |
| 1. | Fuga D. Iodoci Pratensis vulgo Iusquin de pres, in epidiapente. | Textless canon at the fifth above. | Heyden (1540), 7 Various composers (1545-a), 74 Glareanus (1547), 1 | Bellin, Rhau Jöde, Kanon Mönk, Rhau |
| 2. | Fuga in vnisono, Iacobi Hobrechti. | Canon at the unison. | Heyden (1540), 5 Various composers (1545-b), 106 Glareanus (1547), 7 Vienna MS 18832, 13 | Akos, Schola Bellin, Rhau Frei, Glarean Jöde, Kanon |
| 3. | VII. Fuga in Hexatono acuto, post [longam]. | The actual note value is shown in the rubric. The canon is at the octave above, since an octave spans six whole tones (hexatono). | ||
| 4. | VIII. Fuga in ditono supernè. | Canon at the third above. | ||
| 5. | IX. Fuga in diapente gravi. | Canon at the fifth below. | ||
| 6. | X. Fuga contraria in septima acuta. | Canon by inversion at the seventh above. | ||
| 7. | XI. Alia in vnisono. | Canon by inversion at the unison. | ||
| 8. | XII. Alia in sesquitonio acuto. | Canon by inversion at the third above. | ||
| 9. | XXVII. Monas, in diapente infernè. | Canon at the fifth below attributed to Gregor Meyer by Glareanus. | Glareanus (1547), 17 | Frei, Glarean |
| 10. | XXX. Monas, in qua Altisonans supra tenorem post sesqui tempus in diapente incedit. | Canon at the fifth above after a perfect breve (i.e. three semibreves) attributed to Gregor Meyer by Glareanus. | Glareanus (1547), 15 | Frei, Glarean |
| 11. | XXXI. Fuga, in ditono infima chorda. | The only solution I can see is a canon at the second below, despite the fact that «ditono» means a third. | ||
| 12. | XXXIII. Fuga in unisono. | Canon at the unison. | ||
| 13. | XXXVII. Dyas. TENOR. / CANTVS. | This is the only duo that is not a canon; it seems to be an example of tempus perfectus, used in the Superius only. | ||
| notes |
The first edition, published in 1587, is missing. All the information I have gathered is taken from the 1594 edition, which is said in the title page «Tertia, locupletior et correctior aeditio» (third edition, with more pieces and more corrected). Nevertheless, there are a few mistakes throughout the book.
| Gallery of images from this source | ||||||||||||||
| Title-page | Author's portrait | Dedication | Musical Example | |||||||||||
