Christoph Demantius, Isagoge artis musicae ad incipientium captum maxime accommodata (Valentin Fuhrmann, Nuremberg 1607).

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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 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, tam in Canto beduro quam 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.

9. Fuga ex unisono post bina tempora a 6
scoring: TTTTTT
10. Fuga ex unisono post brevem a 6
scoring: CCCCCC
11. Fuga ex homophonia post tempus a 7
scoring: CCCCCCC
18. Fuga in unisono post duo tempora a 4
scoring: CCCC
19. Fuga post sesquitempus a 4
scoring: TTTT
20. Fuga post bina tempora a 4
scoring: TTTT
21. Fuga post sesquitempus a 4
scoring: TTTT