=001  1000002263
=031  ##$a1$b4$c1$eCanon in diapente, in diatesaron, & diapason$gG-2$p2-2''G1E/(D)'(G)/(-1)://$qCantus 2 [=comes] changes opening note from a semibreve to a minim rest plus minim note.
=031  ##$a1$b4$c2$eCanon in diapente, in diatesaron, & diapason$gC-4$p1,G2A'C+/4(C)8,BA2B1'C/9-://$qL8/L5/L4.  Kyrie 2 motive in notated Cantus & Tenor, Cantus 1 is on one staff with three presa signs above. The first presa matches the entry of the notated Tenor (comes 1). Four voices in score format plus two unnotated parts. 1. Cantus 1 [=dux]-Tenor [=comes 1]-unnotated part [=comes 2]-unnotated part [=comes 3].
=040  ##$aAuArU$beng
=100  1#$aAgostini, Paolo$d1583-1629$02494
=240  10$aAlio modo, Canon à 6$m6vv$0640
=245  10$aAlio modo, Canon à 6
=260  ##$c1627$801
=500  ##$aBoth this and the previous Canon à 4 (p. 9) are based on the same materials: The Kyrie 2 motive, which is also stated at the end of the setting of the Gloria (in the two upper voices) that immediately precedes this canon. A counter-motive comprising the last 4 notes of the Bass from the end of the preceding Gloria setting.$801
=500  ##$aThe second canon type is a variant of the invertible canon because comes 2 enters at 4th below instead of 11th below. Repeat signs in each canon at the end of Cantus 1 and Bassus indicate a circle canon.
=520  ##$aSix-part double canon and circle canon
=590  ##$aVocal parts$bp. 9$801
=593  ##$aPrint$801
=599  ##$a11th below is viable.
=650  07$aCanon$09
=695  ##$ainterval canon$b1$c2$dex$e12th$fabove$g1$hbreve(s)$02006
=695  ##$ainvertible canon$b1$c4$dex$eother$fbelow$g2,3,5$hsemibreve(s)$02032
=695  ##$adouble canon$b2$c6$dex$02031
=773  18$w1000002253