Heinrich Glarean, Dodecachordon (Basel: H. Petri, 1547)
Facsimile edition: New York: Broude, 1967.
English translation: Ed. and trans. by Clement A. Miller, Musicological Studies and Documents 6 (American Institute of Musicology, 1965).
Source of piece in Choralis Constantinus II: Heyden, Musicae.
Choralis Constantinus II contents:
- Mass 25
- Sequence, v. 2 (p. 460)
Character of the Choralis Constantinus II example:
Glarean added text to Heyden's originally textless example. Since he did not know that Isaac set only even-numbered verses of sequences, he mistakenly applied the words of the first, rather than the second, verse of the chant to the example. He commented disapprovingly on the complexity of the notation.
In both the original notation and the resolution, Glarean substitutes 3/2 for Heyden's 3/1.
Glarean must have derived his example from Heyden's Musicae, since he has correct readings in the three places where De arte canendi has errors. He corrected the errors in m. 4 of the original and mm. 2 and 15 of the resolution.
Recognizing the errors in both the original and the resolution of the bass in m. 18 in Musicae, Glarean recomposed the measure in both of his versions. In his resolution, the measure reads g g a d (breve-semibreve-semibreve-breve) in 3/2. The third g in Heyden's example is changed to a to make it compatible with the other voices. In his version of the original, Glarean notated the measure in 12/2 proportion with values four times as long as those in the resolution, probably in response to Heyden's notation of the measure in 4/1 proportion with sesquialtera in three of the voices.
Glarean's example has one error that is not in either of Heyden's versions: tenor, m. 12 n. 5 of the resolution, is a semibreve, rather than a breve.