Italian Canzon Book Score

Italian Canzon Book
SCORE
A collection of 4 and 8 part

instrumental music ca 1600
Music Available Electronically at Petrucci Music Library

http://imslp.org
Italian Canzon Book – Table Of Contents
Canzoni per Sonare con ogni sorte de stromenti (Venice 1608) – Alessandro Raverii
ICB-01 Gabrieli, Giovanni Canzon Prima – La Spiritata
ICB-02 Gabrieli, Giovanni Canzon Seconda
ICB-03 Gabrieli, Giovanni Canzon Terza
ICB-04 Gabrieli, Giovanni Canzon Quarta
ICB-05 Merulo, Claudio Canzon Quinta
ICB-06 Guami, Gioseffo Canzon Sesta
ICB-07 Maschera, Florentio Canzon Settima – La mazzuola
ICB-08 Maschera, Florentio Canzon Ottava – La fontana
ICB-09 Antegni, Constanzo Canzona Nona – La battera
ICB-10 Luzzaschi, Luzzasco Canzona Decima
ICB-11 Lappi, Pietro Canzona Undecima – La serafina
ICB-12 Lappi, Pietro Canzon Duodecima – La alla
ICB-13 Frescobaldi, Girolamo Canzon Terzadecima
ICB-14 Grillo, Giovanni Battista Canzon Quartadecima - Capricio
ICB-15 Grillo, Giovanni Battista Canzon Quintadecima
Libro Primo de Canzoni da Sonare (Venice, 1584) – Florentio Maschera
ICB-16 Maschera, Florentio Canzon Prima – La Capriola

ICB-17 Maschera, Florentio Canzon Seconda – La Martinenga
ICB-18 Maschera, Florentio Canzon Terza
ICB-19 Maschera, Florentio Canzon Quarta
ICB-20 Maschera, Florentio Canzon Quinta – La Maggia
ICB-21 Maschera, Florentio Canzon Sesta
ICB-22 Maschera, Florentio Canzon Settima – Al S. Pompeo Coradello
ICB-23 Maschera, Florentio Canzon Ottava
ICB-24 Maschera, Florentio Canzon Nona – La Duranda
ICB-25 Maschera, Florentio Canzon Decima – La Rosa
ICB-26 Maschera, Florentio Canzon Undecima – L’Averolda
ICB-27 Maschera, Florentio Canzon Duodecima – L’Uggiera
ICB-28 Maschera, Florentio Canzon Decimaterza – La Girella
ICB-29 Maschera, Florentio Canzon Decimaquarta
ICB-30 Maschera, Florentio Canzon Decimaquinta
ICB-31 Maschera, Florentio Canzon Decimasesta
ICB-32 Maschera, Florentio Canzon Decimasettima
ICB-33 Maschera, Florentio Canzon Decimaottava – La Villachiara
ICB-34 Maschera, Florentio Canzon Decimanona
ICB-35 Maschera, Florentio Canzon Vigesima
ICB-36 Maschera, Florentio Canzon Vigesimaprima
Italian Canzon Book – Table Of Contents, Cont.
Libro Primo de Canzoni da Sonare a Quattro et otto voci (Venice, 1600) – Floriano Canale
ICB-37 Canale, Floriano La Bevilacqua
ICB-38 Canale, Floriano La Canobbia
ICB-39 Canale, Floriano La Maggia
ICB-40 Canale, Floriano La Martinenga
ICB-41 Canale, Floriano La Avogadra
ICB-42 Canale, Floriano La Gambara
ICB-43 Canale, Floriano La Fenarola
ICB-44 Canale, Floriano La Furta
ICB-45 Canale, Floriano La Ugona
ICB-46 Canale, Floriano La Porta
ICB-47 Canale, Floriano La Nuvolina
ICB-48 Canale, Floriano La Durante
ICB-49 Canale, Floriano La Barbisona
ICB-50 Canale, Floriano La Solda
ICB-51 Canale, Floriano La Averolda
ICB-52 Canale, Floriano La Stella
ICB-53 Canale, Floriano La Robbata
ICB-54 Canale, Floriano La Bevilacqua a 8 (8 Part)
ICB-55 Canale, Floriano La Canobbia a 8 (8 Part)
Miscellaneous 4 part Canzoni, Ricerare, Fantasias
ICB-56 Gabrieli, Andrea Ricercar del sesto tuono
ICB-57 Vecchi, Orazio Canzon a 4
ICB-58 Rossi, Salamone Canzon per sonar a 4
ICB-59 Frescobaldi, Girolamo Recercar Terzo – Recercari et Canzoni
ICB-60 Frescobaldi, Girolamo Fantasia in 4 parts
Eight Ricercare – Giovanni Pierluigi da Palestrina
ICB-61 Palestrina, G. P. Primo Tono
ICB-62 Palestrina, G. P. Secondo Tono
ICB-63 Palestrina, G. P. Terzo Tono
ICB-64 Palestrina, G. P. Quarto Tono
ICB-65 Palestrina, G. P. Quinto Tono
ICB-66 Palestrina, G. P. Sesto Tono
ICB-67 Palestrina, G. P. Settimo Tono
ICB-68 Palestrina, G. P. Ottavo Tono
Italian Canzon Book – Table Of Contents, Cont.
Eight Part Canzoni – Giovanni Gabrieli
ICB-69 Gabrieli, Giovanni Canzon Duodecimi Toni (Ch.174)
ICB-70 Gabrieli, Giovanni Canzon Noni Toni a 8
ICB-71 Gabrieli, Giovanni Canzon Primi Toni
ICB-72 Gabrieli, Giovanni Canzon Septimi Toni a 8
ICB-73 Gabrieli, Giovanni Canzon Septimi Toni a 8
ICB-74 Gabrieli, Giovanni Canzon XII
Canzoni per Sonare
con ogni sorte de stromenti
(1608)
Alessandro Raverii, Venice
Page 1
Page 2
1
ICB-01 Canzon prima

La Spiritata
Giovanni Gabrieli (c.1557-1612)

Canzoni per Sonare (Raverii press, Venice, 1608)

Canto

Alto

Tenore
8

Basso

5

8

10

8

2

=

3
15

2

3

3
8

3
Typeset by Allen Garvin (aurvondel@gmail.com) (ver. 2015-09-13) CC BY-NC 2.5 Page 3
2 Canzon prima (score)

20 25

8

30

=

8

35

8

40

8

Page 4
Typeset by Allen Garvin (aurvondel@gmail.com) (ver. 2015-09-13) CC BY-NC 2.5
Canzon prima (score) 3
45

8

8

50

8


1
ICB-02 2. Canzon seconda
Giovanni Gabrieli (1557-1617)
5 5 5 5 5 5 5 5
Alessandro Raverii, Canzoni per Sonare (1608)
5 5 5 55 5 5 5 5 5 5 5
Canto
5 5 5 5
5

5 5 55 5 5 55 5 5
5
Alto
5
Tenore 5
5

8

Basso
5
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5

5
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5
5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 55 5 5 5
5 5 5 5 555555
55 5 5 55
8
5 5

5 5 5 5 5 5 5 5 5 5 5 5 55 5 5 5
5 5 5 5

5 5 5 5 5 5 5 5 5 5
5 5 5 5
5
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5 5 5 5
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5 5 55 5 5 55 5 5 55
8
5 5 5

5 5 5 5 5
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10

5
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 55 5
5
5 5 5
5 5 5 5 5 5 5 5
5 5 5 5
8

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2 Canzon seconda (score)

5 5
)
5 5 5 5 5 5 5 5 5 5 5 5 5 5
5

5 55 5 5 5 5
5 5 5

5 5 5 5 5 5 5 5
8
5 5 5 5 5
15 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5
55 5 55 55 5 5
8
5

20

5 5 5

5
5 5 5 5 5 5 5 5 5

5 5 5 5 5 5 5 5 55 5 5 5
5 5 5
8
5 5 5 5 5 5 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
) )
5 5 5 5 5 5 5 5 5 5 5
)
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5
5

5 5 5 5 5 5 55555
8
5 5 5 5 5 5

Canzon seconda (score) 3
5 5 5
5 5 5 5 5 5 5 5 5
25
5
5 5 5 5 5 5 5 5

5 5 5 5 5 5
5 5 5 5 5 5

5 5 5 5
5 5 5 5 5 5 5 5 5
8

30
5 5 5 5 5 5
5 5 5
5 5 5
5 5 5
5 5 5 5 5 5
5
5 5 5 5
5 5 5 5 55
8

5
5
5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5
5
5
5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5
8
5 5
5
35 5 5 5 5 5 5
5 5 5 55 5555 5
) )
5
5 5555 5
55
5 5 5 5 5 5
8
5 5555 5 5 5555 5
5 5 5 5

4 Canzon seconda (score)
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5 5 5 5 5 5
40

5
5 5 555 55 5 55 55555 5 5 5 5 5
5 5 5
5
5 55 555 555555
5 5 55 5
8
5 5

5 5 5 5 5 5 5 5 5 55 5
5 5 5 55 5 5

5 5 5 5 555 5
5 5 5 5 5 5 5 5
5
5 55 5 5 5 55555555
5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 555555
55 5 5
8
55 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5
45

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5 55 5 5 5 5 5 5 55 5 5 55
5 5 5
5 5 5
5 5 5 5 5 5
5 5 5 5 555555 5
5 5
8
55 5 5 5 5 5

5 5 5
6
5 5 5 55 5 5 5 5 5 5 5 2 5
5

5 5 5 55 5 5 5 5
5
5 5 55 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5
55 5 5 55 5 5
8
5 5 5

1
ICB-03 3. Canzon terza
Giovanni Gabrieli (1557-1617)

É
É
Canto

Alto

Tenore

8

Basso

5 =
3

É 3 É
É É
É 3

8
É É
3

=
É
10

É É
É É

É

8

É

É
8

2 Canzon terza (score)

15
É

É

8

20

É
É É
É
É
8

É É É
É É
É
8

É

É

25

8

Canzon terza (score) 3
É É

30

É É

É

É
8

É É

É
É
É

É
8

É
É
35

É

É

É
8

40

É

É

8
É
1
4. Canzon quarta
ICB-04 Giovanni Gabrieli (1557-1617)
5
Canto 5
5
Alto
5 5 5 5 5 5
5
5 5 5 5 5 5 5 5 5 5
5 5 5
Tenore 5
5 5 5 5 5

8

Basso
5
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5
5

5 5 5 5
5 5 5 5

5 5 5
5 5

5 5 5
8

5 555 55555 555 5555 5
5 5
5 5
5 5 5 5 5 5 5 5
5
5 5 5 5
5 5 5 5
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8

5 5 5 5
5
10
5
5 5 5
5 5 5 5 5 5 5 5 5 5 5 5
5
5
5 5 5
5 5 5 5

8

2 Canzon quarta (score)
) )
5 5
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5
5 5 5
8
5 5 5 55 55 5
5 5 5 5 5 5 5 5 5 5 5

5
15
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5 5 5 5 55 555 5
5 5 5
5 5 5 55 5

5 5 5 5
5 5 5 5 5

5
8
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5 5

5 5 5 5 5 5 5 5 5 5 5 5 5
20

5 5
5 5 5 5 5 5

5
5 5
5

5 5 5

8
5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5
5
5
)
55 5 5
5 5 5 5 5 5 5

5 5 5 5
8
5 5 5 5

Canzon quarta (score) 3
5 5 5 5 5 5 5 5 5 5
25
5

5 55 5 5 5 5 5 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5

5 5

8

5 5
30

5 5 5
5 5 5 5 5 5 5 5 5 5 5 5

8
5 5 5 5 5
5

5 5 5 5 5 5 35 5 5 5 5 5 5 5 5

5 5 5 5
5 5 5 5 5 5 5 5 5 5
5 5 5 5
5 5 5
5
5
8

5 5 5 5 5 5 5 5 5 55 5 5 5 5 5 5 5 5
5 5
5 5 5 5 5 5
5
5 5
5 5 5 5 5

5 5 5 5 5 55 5 5
8

4 Canzon quarta (score)
5 5 5 5 5 5 5 5 55
5 55 5
40

55 55 5 5 5 5 5 5 5 5 5 5 5
5

5 5 5 5 5 5 5 5

8


1
ICB-05 5. Canzon quinta
Claudio Merulo (1533-1604)
5 5 5 5 5 5 5 5 5

Canto 5
5

5 5 5 5 5 5 5 5 5 5 5 5 5 5 555 5
5
Alto
5

5 5 5 5
Tenore 5
5
5 5 5 5 5 5
8
5
Basso

5
5 5 5 5 5 5 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 55 5 5 5 5
5 5 5 5 555 5 5 5 5 5 5 5 5 5
5 5 5
5 5 5 5 5 5 5 5 5 5
8

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5
10 )
5
5 5 5 5 5 55 5 5 5 5 5 5 5 5
5 5 5 5

5 5 5 5 5 5
5 5 5
8

5 5 5 5 5 5 5 5
15
5 5

5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5
5

5 5 5 5 5 5 5 5
5 5 5
5 5 5 5
5 5 5 5
8

2 Canzon quinta (score)
5 5 5 5 5 5 5 5 5 5 5 20 5 5
5 5 5
)
5 5
5 5
5 5 5 5 5 5 5 5 5 5
5 5 5 5 5
5 5
5 5 5 5 5
5
5 5 5 5 5
5
5 5 5 5 5 5 5 5
5 5 5 55 5
5 5 5 5 5
8
5 5

5 5 5 5 5 5 5 5 5 5 5 5 5
)

5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5
5
5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5
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5 5 5 5 5 5
8

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5
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5 5
5 5 5 5 5 5 5 5 5 5 5 5 5
8

5 5 5 5 5 5
30

)

5 5 5 5 5
5 5
5 5 5 5 5 5 5 5 5 5 5 5
5

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

8
5 5 5 5 5 5
5 5 5 5 5 5 5

Canzon quinta (score) 3
5 5 5 5 5
5 5 5 5
35

5 5 5 5 5 5 5 5 5 5 5 5
5 5 5

5 5 5 5 5 5 5
5 5 5 5 5
5 5 5 5 5 5 5 5 5 5
5 5
8
5

5 5 5 5 5 5 5
) 40
5 5 55 5 5 5 5 5 5 55
5 5 5 5
5 5 5 55 5 5 5 5 5 5 5 5
5 5 5
5 5 5 5 5 5 5 55

5 5 5 5 5 5 5 55
8

5 5 5 5 5 5
5 5 5
45

5
5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 55 5 5
5 5 5 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5
8

5 5 5 5 5 5 5 5 5 5 5 50

5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5 5 555 5 5 5
5
55 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5
5 5 5 5 5
8
5

4 Canzon quinta (score)
5 5 5 5 5 5 5 5 5 5 5 5 5
55
5 5
5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5

5 5 5 5 5 5
8

5 5 5


1
6. Canzon sesta
ICB-06 Gioseffo Guami (1542-1611)

5 5 5 5 5
5 55 5 5 5 5 5 5 5 5
5
Canto
5
Alto
5

5 5 5 5 5
5 55 5 5 5 5 5 5
Tenore 5
5

8

Basso
5
)
55 55 5
5
5 5 5 5 5 5 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5

5 5
5 5 5
5 5 5 5 55 55 5 5 5 5 5 5 5
5 5 5 5 5 55 555555 5 5
8

5
5 5 5

5 5 5 5 5 5 5 5 5 5 5

5
5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5
5 5
5 5 5 5 5 5 5 5 5 5
8
5
5 5 5
5 5 5 5 5 5 5 5
10

5 55555
5 55 5 5 5 5 5 5 5 555 555555
5
5 55 55 55555 5 5 5 5 5 5
5

8
5 5 5 5
5

2 Canzon sesta (score)
5 5 5 5
5 5 5
)

5 5 5 5 5 5 5 5 5 5 5
5 5 5 5
5 5
5 5 5 5 5 5
5 5 5 5 5 5 5 5
8
5
55 5555555 5
15
5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5

5 5 5 5 5 5 5 5 5
5 5 5 5
8

5 5
5 5 5 5 20 5
5 5 5 5 5

5 5 5 5 5 5
5 5 5 5 5 5 5 5
5 5 5 5 5 5
5 5 5

8
5 5
5 5 5
5 5 5 5 5 5
)
5 5 5 5 5 5

5
5 5
5
5 5 5 5
5 5
5 5 5 5 5 5 5 5 5 5 5
5 5 5
5 5

5 5 5
8

5 5 5
5 5
Canzon sesta (score) 3
5
5 5 5
25
5 5 5 5 5 5

5555 5
5 5 5 5 5 5
5
5 5 5 5 5 55 55 55 5 5 5 5
5 5555
55
5555 5

8
5555
5 5 5 5
55 55 5 5
5 5 5 5 5 5 5 5 5

55 5 5 5 5 5 5 555 5 5
5 55 5
5 5 5 5 5
5 5 5 555
5 5 5 5 5 5 5 5

8
5 5

30
5 5 5 5 5 5 5 5 5 5
5 5 5

5 5 5
5 5
5
5 5 5
5 5 5 5 5
5 5 5 5 5

5 5 5 5 5 5
8
5 5 5

5 5 5 5 55 5 5
5 5 5 5 5
35
5555 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5
555 5 5 5
5 5 5 5 5 5 5
5

5

5 55 5 5 5
8
5 5 5
5
4 Canzon sesta (score)
555 5 5 5 5 5
5 5
)
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5 5
5 5 5 5
5 5 5 5 5 5

5 5 5 55 5
5 5 5 5 55555 555
5 5 5 5
5 5
8
5 5 5 5 5
5 5

1
7. Canzon settima
ICB-07 La mazzuola
Florentio Maschera (c.1541-1584)
É É É
É É

Canto

É
Alto É É É

É
É

É

Tenore

8
É

Basso

É 5 É

É

É É

É É É É
8

É É 10
É

É
É É

É É

8

É É
É

8

2 Canzon settima 'La mazzuola' (score)
É
É
15

É É
É

É

É É
8

É
É
20

É É
É
É

8
É

É
É

É É É

É

É É
8

25 É

É
É

É
8
Page 26
Canzon settima 'La mazzuola' (score) 3
É
30

É É

8

35

É
É
É

8

40

É
É

8
É É

É
É

É
8
É

4 Canzon settima 'La mazzuola' (score)
É
É É
45

É

É
É
8

É

É

6

2 50

É

É

8
É É


1
ICB-08 8. Canzon ottava

La fontana
Florentio Maschera (c.1541-1584)
5
5 5 5 5
Canto
5 5 5
5
Alto
5 5 5 5 5 5 5 5 5
5
5
5 5 5 5
Tenore
5 5
5
5
8
5 5
Basso

5 5 5 5 5 5
5
5 5 5
5 5 5
5 5 5
5 5 5 5 5 5 5 5
5 5 5
5 5 5 5
5 5
5 5 5 5 5 5 5 5
8

5 5 5 55 5 5 5 5 5 5
5
5 5 5 5 5 5
5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5
5 5 5 5
5 5
8
5

5 5 10

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
55 5 5 5 5 5 5 5 5
5 5
5
5 5 5
5 5 5
8
5 5


2 Canzon ottava 'La fontana' (score)
5 5 5 5 5

5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5
5
5 5 5 5 5 5
5 5 5 5
5 5
5 5
8
5 5 5 5

15 5 5 5 5 5 5

5 5 5
5 5 5 5 5 5 5 5 5 5 55 55 5 5 5 5 5 5
5 5 5 5 5 5

5 5
8

5 5 5 5
20
5 5
5 5 55

5 5 5 5 5 5 5 5 5 5 55 5
5 5 5
5 55 5
8
5 5 5 5 5 5 5 5 5

555 5 5 5
5 5

555 5 5 5 5 55 5 5 5
5 555 5 5 5
5 55 5 5 5

8
5 5 55 5 5 5

Canzon ottava 'La fontana' (score) 3

25
5 5 5 5 5 5 5 5
5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5 5
5 5
5 5 5 5 5 5 5 5 5 5
5
8

5 5
5 5 5 5 5 5 5 5 5 5 5 5 5
30
5
)
5 5 5 5 5 5
5 5 5 5 5
5 5 5 5 5 5

8
5 5

5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5
5 55 5
5 5 5
8

35
5 5 5 5 5 5 5 5 5 5
5

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5
5
5
5 5 5 5
8
5 5

4 Canzon ottava 'La fontana' (score)
5 5 5 5 5 5 5 5 5 5
)
5
40
5 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5 5 5

5 5 5 5
5 5 5 5 5 5

5 5 5
8

5
5 5 5 5 5
5
45

5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5

5 5 5 5 5 5
8
5 5

6
5 5 5 5 5 5 5 5 5 5 5 25 5 5 5 5
5 5 5

5 5 5 5 5 5 5
5 5 5 5
5 5 5 5 5 5
5 5 5 5 5 5 5

8

5 5 5 5 5

1
9. Canzona nona
ICB-09 La battera
Costanzo Antegni (1549-1624)
5

5 5 5 5 5 555 5 5 555 5
Canto 5
5
5 5 5 5 5 555 5
5
Alto
5 5 5

Tenore 5
5 5 5

8
5
Basso

55 5 5
5
5
5 5 5 5
5 555
5 5 555555
5 5 5 555 5 5 555 5 5 555555
5 5 5 555 5 5 555 5
8

5 555 5 5 555 5 5 55 5 5 555
1.
5 5 5 5 5
10
5 5 5

5 5 5 555 5 5 555 5

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8

2.
5 5 5 5 55 5 5

5 5 5 5 5

5 5 5 5 5 5 55 5 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5
5
8

Page 33
2 Canzona nona 'La battera' (score)
5 5 5 5 5 55 5 5
5 5 5 5 5 5
5
15
5 5 5 5 5 5 5 5 5 5 5
5
5 5 5 5 5 5

8
5 5 5 5 5 5 5 5

5 5 5 5 5 5

5 5 5 5 5
5 5 5 5 5 5 5 5
5 5
5 5 5 5 5

5 5 5 5 55 5 5 5
5 5 5 5 5 5 5 5 5 5
5 5 5 5 5
8
5 5 5 5 5 5 5 5 5

20 5 5 5 5 5
5 5 5 5
5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5

5 5 5 5
5 5 5 5 5

8
5 5 5 5 5 5 5 5
5 5 5 5 5 5

5 5 5 5 5 5
5
1. 2.
5
25

5 5 5 5 5555 5 5 5555
5 5 5 5 5 5 5 5 5 5 5 5

5 5 5 5 5 5 5
5 5
8
5

1
11. Canzona decima
ICB-10 Luzzasco Luzzaschi (c.1545-1607)


Canto

Alto

É

Tenore

8
Basso

5

É É

8

É

8

É
10

É
É

É
É
8

2 Canzona decima (score)
É
15

É É

É É

8
É

É ÉÉ

ÉÉ
É

É ÉÉ

ÉÉ
8
É
É
20

É

8

1. 2.
É
ÉÉ
25

ÉÉ
É
ÉÉ

8
ÉÉ

1
11. Canzona undecima
ICB-11 La serafina
Pietro Lappi (c.1575-c.1630)
5 5 5 5 5 5 5 5 5 5 5 5 5
Canto 5 5
5
Alto 5 5 5 5 5 5 5 5 5 5 5
5
5
Tenore
5
5

8
5
Basso

5 5 5 5 5 5 5 5 5
5

5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5
5
8

5 5 5 5 5 5 5 5 55 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5
5
5 5 5
5 5
5 5 5 5 5 5
8
5 5

5 5 5 5 5 10
5 5 5 5 5 5 5 5 5 5 5 5

5 5
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5

5 5 5 5 5
8

Page 37
2 Canzona undecima 'La serafina' (score)
5 5 5 5 5 5 555 5 5 5 5
5
15
55

5 5 5 5 5 5 5 5 5 5
5 5
555
5 5 55 5 5 5 5 5 5 5 5 5 5 5 5

5 5 5 5 5 5 5 5
8

5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5
5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5
5 5
8
5 5 5 5 5 5 5 5 5 5 5 5555
5 5

5
20 5 555 5 5 55555 5 5 5 5
5 5 5 5 5 5 5
5 555 5 55555 5 5 5
5 5 5 5
5 5 5 5

5 5 55 5 5 5 5 5
8

25 5 5 5 5 5 5 5

5 5 5
5 5 5

5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5
8
5 5 5 5 5 5 5 5 5 5 5
5 5 5

5 5 5 5
Canzona undecima 'La serafina' (score) 3
5 5 5 5 5 5 5 5 5 5 5 5
5 5 5
5 5 5 5 5 5 5 5

5 5 5 5 5 5
5 5 5 5 5

5 5 5 5 5 5
5 5 5
8
5 5

30 5 5 5 55 5 5 5 5 5
=

23
5 5 5 5 5 5 5 23
5 5 5 5
5 5 5 5 5
23 5 5 5
5 55 5
32
8

5 35
5 5 5 5 5 5

5 5 5
5 5 5 5
5 5 5 5 5
5 5

5 5 5 5 5
8
5 5

40 5 =
5 5 5 5 5 5 5 5 5 5

5 55 5 5 5 5 5 5
5
5
5
5 5
5 5
8
5 5 5 5
4 Canzona undecima 'La serafina' (score)

45
5 5 5 5 5
5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5

5 5 5 5 5 5 5 5 5
5 5 5 5 5
5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5
8
5

5 5 5 5 5
5 5 5 5 5
50
5
5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5
5 5 5 5 5 5 5 5 5

5 5
8
5

5 5 5 5 5 5 5

5 5 5 5 5 5
5 5 5 5 5
5 5 5
5 5 5 5 5 5 5 5

8
5 5 5 5

5 5 5 55 555 5 555 555 5
5 5 5
55

5 555 55 5 5 5 55 555 555 5

5 5 555 5
5 5 5 5 5 555 55 555 5 5
5 5
555 55 555
8
555 5 5

Canzona undecima 'La serafina' (score) 5
5 5
5 5 5 5 5 5 5 5 5 5 5 5
1.

5 5 5 5 5 5
5 5 5 5 5 5 5 5

5 5 5 5
5 5 5 5
8
5 5

60 5 5 5 55
5 55 5 5 555 5
2.
55 5

5 555 55 5 5 5 55 5
5 5
55 5

555 5 5 5 5 5
8
5 555 55 5 5


1
ICB-12 12. Canzon duodecima

La alla
Pietro Lappi (c.1575-c.1630)
5 Alessandro Raverii, Canzoni per Sonare (1608)
5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5 5

Canto
5
Alto 5 5 5 5 5 5 5 5 55 55
5
5
Tenore
5
5

8

Basso
5

5
5 55 55 555 5
5 5 5 5 5 5 5 5 5 5

5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5 5 55 55 55

5 5 5 5 5 5 5
8
5555 5555 5
5 5 5 5
5 5 5 5 55555555 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 555 5555 55555 5 5 5 5 5

5
5 5 5 5 5 5
5 5 5555 5 5 5 5 5
5 5 5
5 5 5 5 5
8
5
5 5 5 5 5 5 5 5
5555 5555 5 5 5
10

5 5 5 5
5 5 5 5 5 5 5
5
5 5 5
5 5 5 5 5
5 5 5
555555 5 5 5 5
8
5 5 5 5 5

5
2 Canzon duodecima 'La alla' (score)
5 5 5 5 5555 5 5 5

5 5
555555555 5 5 5 5 5 5 5 5
5 5 5 5 5 555 5 5 5 5 555 5 5 5 5 5
5 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5 5 5
8
5

15 5
5 5 5 5555 555
5
5555 5 5 5 5 5 5 5 55 5 5 5555
5 55 5 5 5 5 5 5 5 5 5 5 555555 5 5555

5 5 5 5 5 5 5 5 5 5
5555 555 5
8

5 5 5 5 5 5
20

5
5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5
5 5
5 5 5 5 5
5 5 5
5 5 5 5 5
8

5 555 5 5555 5
5 555 5 5555 5
5 5
5555 5
5 5 555 5 5555
5 5 5 5 5
5 5 5 55
5 555 5 5 5 5
5 55 5 5 5 5 5 5
55 5 5 5555
8
5

Canzon duodecima 'La alla' (score) 3

25
5 555 5 5555 5 5

5 5 5555
5
5 5 5 5 5

5 5 5 5 5 5 5 555 5 5555 5 5 5 5

555 5 5555 5 5 5 5
5 5 5 5
555 5
8
5 5555 5 5 5

5 555 55
5 5
5

5 5 5 5 5 5555 5
5
5 5 5 5 5
5 5 5 55
5 5555
5 5 5 5

8
5 555 5 5555 5 5 5 5555

30 555 555 55 555 55

5 555 55 5 5
555 555 555 55 5 555 55 555

5 555 55 5 5 5 5
555 5 555 55 5 555 55
5 555 55 5 5 5 5
8
555 5 5 5 5 5 5 5 5 5 5 5 5
5
55 5 55 5

5 5
5 5 5 55
35
5 5 555 555 55 5 5 5

5 5 5 5 5
5 55 55 5 55
5
5 555 555 55
5 5 5 5 5 5 55
5 5
8
5 5 5 5
5 5 5 5 5 555 5
55 5 555 55 5
4 Canzon duodecima 'La alla' (score)
555 5 5 5 5 5
5 55

5
555 555 5 55 5 5 5 5 5 5
555 555 55 5
5 5 5 5 5 5 5 5
5 55

5 5 5 5 5 5 5 5 5 5 5
555
8
5 5 5 5 5 5
5

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
40
5 5 5 55 55 555 5

5 5 5 5 5 5 5 5 5 5555555 5 5 5 5 5
5 5 5
5 5 5 5 5 5 5 5
5 5

8

5 5 5 5 5555555
5
5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 55555
55 5 5 5 5 5 55 5
8

5 5 5 5 5 5555555 5 5 5 5 5
5
45 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5 5 5
5555 555 5555 5 5
5 5 5 5 5 5 5
5 5 5 5 5 5
5 5 5 5 5 5
5 5
8
5555 5555

Canzon duodecima 'La alla' (score) 5
5 55555555 5 5 5 5 5 5 5 5 5 5555
50
5
5 5 5 5 5 5 5 5 5
5 5 5 5 5555 5555 5
5 5 5 5 5 5 55555 5 5555
5 5 5

8
5 5 5

5 5 5 5
5 5 5

5 5
5 5 5 5 5 5 5 5 5
5 5 5 5 555 5 5 5 5 5 5 5 5 5 5 5 5 5

5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5
8

5
5555 555 5
55

5 5 5 5 5 5 5 5 55 5 5
5555 5 5 5 5
5
5 5
5 5 5555 5555 5 55 5 5 5 5

5 5 5 5 5 5 5 5 5
5555 555 5
8

5 5 5 5 5 5 55555 5 5 5 5 5
60
5

5 5 5 5 5 5 5 5 5 5555 55
5
5 5 5 5 5 5 5

5 5 5 5
8
5 5 5 5
5
1
13. Canzon terzadecima
ICB-13
Girolamo Frescobaldi (1583-1643)
5

Canto
5

5 5 5 5 5 5 5 5 5
Alto
5 5
5
5
5 5 5
5 5 5 5 5 5 5 5
Tenore 5
5 5 5 5 5 5
5 5 5
8
5
Basso

5
5 5 5 5 5 5
5
5 5555
5 5 5 5
5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 55555 5

5 5 5 5 5555 5 5 5 5
8
5 5 5
5 5 5 5 5
5 5
5 5 5 5 5 5 5
5 5 5 5 5 5 5
5

5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5
5 55 5
8
5 5 5 5 5 5 5 5 55 5
5 5 5 5 5
10
5 5 5 5555555 5
5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5
5 5 5 5 5555555 5
5 5
8
5 5 5 5 5 5 5 5
555555 5 5
2 Canzon terzadecima (score)
5 5 5 5
5 55 55
5 5 5555555 55 5 5 5 5 5 5 555555 5

5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5
8
5 5 5 5 5 5 5 5
5 555 5
15 5 555555 5
5 5 5 5 5 5 5
55 55555 5

5 5 5 5 5 5
5 5555
5 5 5 5 5 5 5 5
5 5 5 5 5
5
8
5 555 55555 5 5
5 5 5 5 5555
5 5 5
5 5555 5 5 5 5 55
5
20
5 5 5 5 5 5 5
5 5555 5 5 5 5 5 5
5 5 5 5 5 5
5 5 5 5 5 5555 5555
5 5 5
5 5 5 5
8
5 5 5 5
555
5 5 5 5 2
6

5 5 5 5 55 5 5 5 5 5

55 5 5 5 5 5 5 5
5
5 5
5 5 5 5
55 5 5
55 5 5 55
8
55 5 5
5 555
1
14. Canzon quartadecima
ICB-14
Capricio
Giovanni Battista Grillo (late 16c-1622)
5 555 5

2
5 5 55 555 55 55555 5
2
Canto 5 3
5 555 55
5 5 5 5 3
5
Alto
5

Tenore 5 3
5

8
3
Basso
5
5 5 5 5 5 5
5
10
3 5 5 5 5 5 5
5 5 5
3

3

8
3

15

555 5 5
5 5 5 5 5 5
5 5 5 555 55
8
5 5 5 5

555 5 5 55
5 5 5 55 5 5 5 5
20

5 5 5 5 5 55 5
5
5 55
5 5 5 5 5 5
5 5 5 5 5 5 5 5
5 5
5 5 5 5
8
5 5 55555
2 Canzon quartadecima 'Capricio' (score)
5555 5 5 5 555 5 5 5
5 5 5 5 5
555 5 5 55
25

555 5 5 5 5
5 5
5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

5
55 55 555 555 5
8

5 5 5 5 5 5 5 55
30
5 55
3

)
5 5 5 5 5 5 5 5 5 5 5 5 5 5 3

5 5 5 5 5 5 5 55
55
3
5 5 5 5 5 5 55
5
8

3
5
5 5 5 5
35
3
3 5 5 5

3 5 5 5 5
5 5 5 5
8

3
55

40
5 55 5 5
3
)
5 5 5 5 3 5

5
5
5 5 3
5
8
55
3
Canzon quartadecima 'Capricio' (score) 3

45
5 5 5 5 5 5) 5 5 5 50
5 5 5 5 5 5 5 5 5 5 5 5 5

5 5 5 5

5 5 5
8

555 5
5 5 5 5 55 555 55 55555 5
55
5
5 5 5 555 55 5 5

5
8

2 5 5 5 5 5
2
5 60
5 5 5 5 5 5
65
3
5 5 5
3

3

8

3
5 5705 5
5
55
5 55
5
5
555 5
8

5 5 5 5 5
1
ICB-15 15. Canzon quintadecima

Giovanni Battista Grillo (late 16c-1622)

ÉÉ
Canto
ÉÉ
Alto

ÉÉ
Tenore

É

8
É
Basso

5

É

8

É
É
8

10
É

É
É
8

2 Canzon quintadecima (score)
1. 2.

ÉÉ É É
15

ÉÉ

É
É ¦ É
ÉÉ
É
8
É

20
É
¦

É

É
É
8

É

É

É

8

É
25
ÉÉ
É

ÉÉ
É
ÉÉ

É
8
ÉÉ

Canzon quintadecima (score) 3

30

É
É

É
É

8

1.

35
É
¦
ÉÉ
É

ÉÉ
É
É ÉÉ

8
É
É É
É

ÉÉ

2
2. 6

40

É É

É É
8


Florentio Maschera
Libro Primo de
Canzoni da Sonare
à quattro
Edited by Allen Garvin
Score
Hawthorne Early Music

FM-1
20130715
Page 55
©2013 — Allen Garvin
Some rights reserved
Hawthorne Early Music Publications, Dallas, TX
This work is licensed under the Creative Commons Attribution-ShareAlike 3.0 US License. To
view a copy of this license, visit http://creativecommons.org/licenses/by-sa/3.0/us or send a letter
to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA.
The typeface used is Liberation Serif, licensed under the GNU General Public License. This
document was typeset using XeLaTeX and Lilypond.
10 09 08 07 06 05 04 03 02 01 19 18 17 16 15 14 13
No restrictions at all are placed on public performance, commercial or not, from Hawthorne
editions. No credit or attribution is required for performances.
For other free music from Hawthorne Publications, see http://imslp.org/wiki/Category:Garvin, Allen
Page 56
1
Score
ICB-16 Libro Primo de Canzoni da Sonare (Venice, 1584)
Canzon Prima 'La Capriola'

5

Canto

Alto

Tenore

8

Basso

10

8

Þ

15

8

20

8

25

8

Page 57
Libro Primo de Canzoni da Sonare (1584)
2 Libro Primo de Canzoni da Sonare (score)

Þ Þ

30

8

35

8

Þ

40

8

45

8

50

8

Page 58
Libro Primo de Canzoni da Sonare (score) 3
ICB-17 Canzon Seconda 'La Martinenga'

Canto

Alto

Tenore

8

Basso

5

8

10

Þ

8

15

8

20

Þ Þ

25

8

Page 59

Þ 30

8

Þ

35

8

40

8

45

Þ Þ

8

50

8

Page 60

55

8

60

Þ Þ

65

8

ICB-18

Canzon Terza

Canto

Alto

Tenore

8

Basso

5

10

Þ

8

15

8

Page 61

20

8

25

8

30

8

35

Þ

8

Þ

40

8

Page 62
45

8

Þ

50

8

55

8

60

65

Þ

8

ICB-19 Canzon Quarta

Canto

Alto

Tenore

8

Basso
Page 63

5

8

10

8

20
15

Þ Þ

Þ

8

25

8

30

Þ

Þ

8

Page 64

Þ

35

8

40

8

ICB-20 Canzon Quinta 'La Maggia'

Þ Þ

5
Canto

Alto

Tenore

!
8

Basso

10
Þ

Þ

8

15

8

Page 65

20

8

25

8

30

8

35

8

40

8

Page 66

45

50

8

55

8

60

8

ICB-21

Canzon Sesta

Canto
"

Alto

Tenore

8

Basso

5 Þ

8

Page 67

10

Þ

8

15

Þ Þ

8

20

8

25

8

30

Þ Þ

8

Page 68

35

8

40 Þ

45

8

ICB-22 Canzon Settima 'Al S. Pompeo Coradello'

Canto

Alto

Tenore

8

Basso

5

8

10

8

Page 69

15

8

20

8

25

8

30

8

Þ

35

8

Page 70

40

8

Þ

45

8

6
2

50

8

ICB-23

Canzon Ottava

Canto

Alto

Tenore

8

Basso

5

8

Page 71

10

8

15

8

20

8

25

8

30

8

Page 72

35

8

40

8

45

8

50

8

55

8

Page 73

60

Þ

8

6

65 2

8

ICB-24

Canzon Nona 'La Duranda'

Canto

Alto

Tenore

8

Basso

5

10

8

15

8

Page 74

20

8

25

8

30

8

35

8

40

8

Page 75

45

8

ICB-25

Canzon Decima 'La Rosa'

Canto

Alto

Tenore

8

Basso

5

8

10

8

15

Þ

8

Page 76

20

8

25

30

8

35

8

40

8

45

8

Page 77

50

8

55

8

60

8

65

8

70

8

Page 78

75

8

80

8

85

8

ICB-26

Canzon Undecima 'L'Averolda'
Canto

Alto

Tenore

8

Basso

5

Þ Þ

8

Page 79

10 Þ

Þ

Þ

8

20
15

8

25

8

6

30 2

8

ICB-27

Canzon Duodecima 'L'Uggiera'

Canto

"

Alto

Tenore

8

Basso
Page 80

5

10

8

15

8

20

8

25

8

30

8

Page 81
35

8

6

=

40

2
3

3

3

8

3

45
=

8

50

8

55

8

Page 82

60

8

65

8

70
75

8

ICB-28

Canzon Decimaterza 'La Girella
Canto

#
"

Alto

Tenore #

8

Basso

5

8

Page 83

10

8

15

8

20

Þ

8

25

30

8

35

8

Page 84

40

Þ

8

45

8

6

2

50

8

ICB-29 Canzon Decimaquarta

Canto

Alto

8

Tenore

8

Basso

5

8

8

Page 85

10

8

8

15

8

8

20

8

8

25

8

8

30

8

8

Page 86

35 Þ Þ Þ

8

8

40

8

8

45

50

8

8

Þ 55

8

8

ICB-30

Canzon Decimaquinta
Canto

Alto

Tenore

8

Basso
Page 87

5

8

10

8

15

8

20

8

25

30

8

Page 88


35

8

40

8

1. 2.

45

8

ICB-31 Canzon Decimasesta

Canto

Alto #

Tenore

8

Basso

5

10

8

Page 89
Þ

15

8

20

8

25

8

30

Þ

8

35

$

$

8
Page 90

6

2 40

$

$

8

ICB-32

Canzon Decimasettima

Canto

Alto

Tenore

8

Basso

5

8

10

8

15

8

Page 91

20

8

25

Þ

8

30

8

35

Þ

8

40

Þ

Þ

8

Page 92

45

8

50

8

55

8

60

65

8

ICB-33 Canzon Decimaottava 'La Villachiara'

Canto

Alto

Tenore

8

Basso
Page 93

5 Þ

8

10

8

15

Þ

8

20

Þ

8

25 30

8

Page 94
35

8

40

8

45

8

50

8

6

55

2 60

8

Page 95
ICB-34
Canzon Decimanona
Canto

Alto

Tenore

8

Basso

5

8

10

8

15

8

8

Page 96

20

8

25

8

30

8

35

8

40

8

Page 97

45

8

50

8

ICB-35 Canzon Vigesima

Canto

Alto

Tenore

8

Basso

5

8

10

8

Page 98

15 Þ

8

20

8

25 ÞÞÞ

30

8

35

8

Þ

40

8

Page 99

45

8

1. 2.

50

8

ICB-36 Canzon Vigesimaprima

5

3
3

Canto

Alto
" 3
3

8
3

Tenore 3

8
3
3
Basso

10

15

8

8

20

8

8

Page 100

25

30

8

8

35

8

8

40

8

8

45

50

8

8

55

8

8

Page 101
60

8

8

65 70

Þ

8

8

75

8

8

2
6

80

6

2

8 6
2

8

6

2

Page 102
Floriano Canale
Canzoni da Sonare
à quattro et otto voci
Edited by Allen Garvin
Score
Hawthorne Early Music

FC-1
20130716
Page 103
©2013 Allen Garvin
Some rights reserved
Hawthorne Early Music Publications, Dallas, TX
This work is licensed under the Creative Commons Attribution-ShareAlike 3.0 US License. To
view a copy of this license, visit http://creativecommons.org/licenses/by-sa/3.0/us or send a letter
to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA.
The typeface used is Liberation Serif, licensed under the GNU General Public License. This
document was typeset using XeLaTeX and Lilypond.
10 09 08 07 06 05 04 03 02 01 19 18 17 16 15 14 13
No restrictions at all are placed on public performance, commercial or not, from Hawthorne
editions. No credit or attribution is required for performances.
For other free music from Hawthorne Publications, see http://imslp.org/wiki/Category:Garvin, Allen
Page 104
1
Score
ICB-37 Canzoni da Sonare, Libro Primo (Venice, 1600)

La Bevilacqua

Canto

Alto

Tenore

8
Basso

5

8

10

8

15

8

8
Page 105
2 Canzoni da Sonare (score)

20

8

25

8

30

8

8

35

8

Page 106

Canzoni da Sonare (score) 3

40

8

Þ

45

8

ICB-38

La Canobbia

Canto

Alto

Tenore

8

Basso

5

8

10

8

Page 107

15

8

8

20

8

25

8

8

Page 108

30

8

ICB-39

La Maggia

Canto

Alto

Tenore

8

Basso

5

8

10

8

15

8

Page 109


8

20

8

25

8

8

30

8

Page 110

35

8

40

8

8

45

8

ICB-40

La Martinenga

Canto

Alto

Tenore

8
Basso
Page 111

5

8

10

8

15
3
2

3
2

3
2

8
3
2

20
23 3
2

23 3
2
3
23 2

3 3
8

2 2

25

8

Page 112

30

8

35

8

40

8

45

8

6
2

8

Page 113
50

8

Þ
55

8

60

8

8

ICB-41

La Avogadra

Canto

Alto

Tenore

8
Basso

! Page 114


5

8

8

10

8

15

8

8

Page 115

20

8

25

8

8

30

8

35

8
Page 116


40

8

8

45

8

50 2
6

Þ

8

ICB-42 La Gambara
"
5
Canto

Alto

Tenore

"
8

Basso

Page 117

10

8

15

8

20

8

25

8

30

Þ Þ

8

Page 118

Þ 35

8

2
6

40

8

ICB-43 La Fenarola

5
Canto
# "
$

# " $

Alto

Tenore
# $

$
8
# "
Basso

10

8

15

8

Page 119

20

8

25

%

8 Þ

30

35

%

8

40

8

45

8

Page 120

50

8

ICB-44

La Furta

Canto

Alto

Tenore
8

Basso

5

8

10

8

15

8

Page 121


8

20

8

25

8

30

8

8

Page 122

35

8

ICB-45 La Ugona

5

Canto

Alto

Tenore
"

8
Basso

10

8

15

8

20

8

Page 123

25 30
3
2

=

3
2

3
2
3
8

2

= 35

8

40 45

8

2

50 55
3
2
2
=

3
2
3
2
3
8
2
ICB-46

La Porta

Canto

Alto

Tenore

8

Basso
Page 124

5

8

10

8

15

8

20

8

25

8

Page 125

30

8

35

8

40
2

3
2
2

3
2

3
2

8

3
2

45
50

23
= =
23

23

3
8

2

=
3
55

2

3
% % 2

3

2

8
3
2 Page 126

60

= 65

% %

8

ICB-47

La Nuvolina

Canto
Þ

Alto

Tenore

8

Basso
5

8

10

8

15

8
Page 127


8

20 2
3

2

=
2

3
2

3
2

8
3
2

25
30

8

=

35

8

8
Page 128

40

Þ

8

ICB-48
&
La Durante

Canto

Alto

Tenore

8

Basso

5

8

10

8

15

8
Page 129


8

20

8

25

8

30

8

35

8

Page 130


8

ICB-49 La Barbisona

5
Canto

"

Alto

Tenore "

8

Basso

%
10

8

15

8

20
%
25

8
Page 131

30

8

35

8

40

8

45

8

50

8

Page 132

55

60

8

65

8

70

8

ICB-50

La Solda

Canto

4
Alto
2

Tenore

8

Basso

5

8

Page 133

10

8

15

8

8

20

8

25

8

Page 134

30

8

35

8

8

40

8

45

8

Page 135
ICB-51

La Averolda

Canto

Alto

Tenore

8

Basso

5

8

10

8

15

8

20

8

Page 136

25 2

= 30
3
2
2

3
2
3
2

8
3
2

35 40

8

45

50

8

= 55

8

60

8

Page 137
ICB-52

La Stella

Canto

Alto
"

Tenore

8
Basso

5

8

10
15

8

20

8

25

8

Page 138

30

8

35

8

40

8

Þ

45

8

2 50
3
2
2

3
2

3
2
3
8
Page 139
2
55 60

8

65 70

8

ICB-53

La Robbata

Canto

Alto

Tenore

8
Basso

5

8

10

8
Page 140

15

8

20

8

25

8

30

3

=
2

3
2

3
2

8
3
2

40 =

35

8

Page 141

45

8

50

8

2
3
55

2 =
2

3
2

3
2

8
3
2

60

65

8

= 70

8
Page 142
62

75

8

ICB-54
La Bevilacqua à 8

Canto

Alto

Tenore

8

Basso

Canto

Alto

Tenore

8

Basso

5

8

8

Page 143

10 Þ

8

8

15

8

8

Page 144

20

8

8

25

8

8

Page 145


8

8

30 Þ

8

8

Page 146

35

8

8

40
Þ

8

8

Page 147

45

8

8

50 Þ

8

8

Page 148
ICB-55 La Canobbia à 8

3 "
5
Canto
2 23
"
3 3
Alto
2 2
3 " 3
Tenore
2 2

3 "
8
3
Basso
2 2
"
Canto
23 23
3 " 23
Alto
2
3
3 " 2
Tenore
2

3 " 3
8
Basso
2 2

10 15

8

8

Page 149

2

2

20
3
2
3
2

3
2

8
3
2

3
2

Þ
3
2

3
2

8
3
2

25 30

23
23

23

3
8

2

23
23

23
3
8

2
Page 150

2

35 2
3
2
3
2
3
2

8
3
2

3
2
3
2
3
2
3
8

2

40 45

8

8

Page 151

2

2
3
Þ

50

2
3
2

3
2
3
8

2

Þ
3
2
3
2

3
2

8
3
2

55 60

8

8

Page 152
1
Ricercar del sesto tuono
ICB-56 Andrea Gabrieli (c.1532-1585)

Madrigali et Ricercari à 4 voci (Gardano press, Venice, 1589)

Canto

Alto

8

Tenore

8

Basso

5

8

8

6
2
10

15

8

8

20

1. 2.

8

8

2 Ricercar del sesto tuono (score)

25

8

8

30

8

8

2

2

35

8

8

40

8

8

Ricercar del sesto tuono (score) 3

45

8

8

50 55

1. 2.

8

8

1
ICB-57 Canzon à 4
Orazio Vecchi (1550-1605)

Selva di varia ricreatione (Venice, 1590)
ì
Canto
Alto ì

Tenore

8

Basso

5
ì

ì ì

ì

8

ì
10
ì

ì
ì ì

8

ì ì
15

ì ì

ì

8
2 Canzon à 4 (score)

20
ì ì

ì

ì

8
ì

ì
25
ì

ì ì ì

ì
Þ

8

30
ì

ì ì
ì ì
ì ì ì
ì

8

35

ì ì
ì ì
ì ì

ì

8

Canzon à 4 (score) 3

40
ì
ì
ì
ì
ì ì
ì
8

45

ì

ì ì
ì

8

50
3
ì
3
ì

3

3
8

55
60
3 ì
ì
3

3
ì

8
3
ì
ì ì
65

Þ
ì ì

ì

8
ì

4 Canzon à 4 (score)

70
ì

ì

8
ì

75

80

ì

8

ì
85

Þ Þ

ì ì

8

6

90 ì
2
ì
Þ Þ

ì

ì
8
1
ICB-58 Canzon per sonar à 4

Salamone Rossi (c.1570-1630)
5
Il secondo libro delle sinfonie ... (Venice, 1608)
5 5 5 5
5
Canto
3 5 3
5 5 5
3
5 5 5 5 5 5 5
5 3 5
Alto
5
Tenore 3 5 3
5 5 5 5 5 5 5 5
5

8
Basso 3 5 3 5 5 5 5
5 5 5 5 5 5 5 5
5 5 5 5
10

5 5 5 5 5 5
5
5 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5
8
5 5 5 5 5 5 5 5

5
5 5 5 55 5 5 5 5 5
15
5
5 5 5 5 5 5 5 5
5 5 5 5 5 5 5
5 5 5 5
5 5 5 5
5 5 5 5
8

5 5 5 5
20 5 5 5 5 5 5 5 5
)
5

5 5 5 5 5 5 5 5 5 5 5 5 5 55

5 5 5 5 5 55 5 5 5 5 5 5 5 5 5 5
5 5
5 5 5
)
5 5 5 5

5 5 5 5 5 5 5
5 5 5
8
5 5 5
5 5 5 5 5 5 5 5
5
2 Canzon per sonar à 4 (score)

25
5 5 5 5 5 5 5 5 55 5 5 5 5 5 5 5 5 5 55 5 5
5 5
5 5 5 5 5
5 5 5 5 5 5 5 5 5

55 5 5 5 5 5 55 5 5
5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5 5
5
8
5 5 5

30 5 5 5
5 5 5
35
3
5 5 5 5 3 5 5
5 5 5 5
5 5
3
8
5 5
5 5 3
5 5 5 5
40

5 5
5 5

5 5 5 5 5 5
5 5
8
5 5 5 5

5 5 5 5
45 1. 2.
5 5
5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 55
5 5 5 5
5 5 5 5 5 5 5
8
5 5
5 5 5

ICB-59 RECERCARI ET CANZONI
- 1615 -
arr. for recorder SATB

-Jürgen Knuth- Girolamo Frescobaldi
Recercar Terzo
Â. Â Â Â Â Â ‰ ÂÂ Â ÂÂ‰ Â
1583-1643
Â Â. Â Â ‰
A; I I I I J SÂ
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A
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Â
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A SÂ Â J I ÂÂ Â J J Â. Â Â Â Â Â ‰ Â. Â
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Â
A
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˛
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27 Â
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A
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Í
(C) Jürgen Knuth Page 162
RECERCARI ET CANZONI-Girolamo Frescobaldi 2
35 Ê Ê Ê
A I J Â. Â Â Â Â Â ‰ Â. S Â Â Â Â ‰ ‰ ‰ I J Â. Â
„
A I I I Â. ÂÂ Â Â Â ‰ Â ÂÂ ÂÂ Â ÂÂÂ
Â Â
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Â Â Â Â Â Â Â Â. Ê
A Â ÂÂ Â Â ‰ Â Â Â Â Â „ J
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43
Â ÂÂ‰ Â Â. ÂÂÂÂ Â Â ‰ ‰. Â Â Â ‰
A Â Â Â Â ‰ Â Í „
ÂÂ Â Â Â. Â Â Â Â. Â Â Â Â Â Â Â ÂÂÂ Â Â Â Â ‰ K Â. ÂÍ Â Â Â Â Â
A ÂÂÂÂÂ Í Í
I I I J K Â Â Â ÂÂÂÂ ÂÂÂÂÂ ÂÂ Â Â ‰ J
A ‰
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51 Ê
A ‰ J I K Â Â Â ÂÂÂ ÂÂÂ Â ‰ ‰ Â Â‰ ‰ Â. S Â ‰ K Â
ÂÂÂ ‰ K Â. Â Â Â Â Â Â ÂÂ‰
KÂ
A ÂÂÂÂ ‰ I
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E Â. ÂÂÂÂÂÂ Â Â „ ‰ J J K Â Â Â ÂÂÂÂ ÂÂÂÂ‰ ‰ J
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59
ÂÂ‰ Ê
Â Â Â Â Â Â ‰
A ÂÂÂ Â Â Â SÂ Â Â Â Â. Â Â Â Â ‰ Â Â SÂ Â K
Â. Â Â Â Â Â Â Â
A ÂÂÂÂ‰ Â SÂ Â Â ‰ K Â ÂÂ‰ Â Â Â ÂÂÂÂ Â Â Í ÂÂ Â Â
Â. Â Â Â Â Â Â ‰ ‰ „ I I I
A Â Â ‰ Â Í
˛
Ê Ê Â ‰ ‰
E I I Â. ÂÂ Â Â Â Â. Â Â S Â K Â. Â Â Â Â Â Â Â. Â
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RECERCARI ET CANZONI-Girolamo Frescobaldi 3
67
Â Â Â Â Â Â Â Â Â ÂÂÂÂ ÂÂÂÂÂ Â Â Â Â ÂÂ Â Â Â Â
A Â. Â ‰ SÂ K Â. Â Â
Í Í
‰. Â Â Â Â Â Â Â Â Â Â Â Â Â Â. Â Â Â Â Â ‰ ‰ ‰ Â Â Â ÂÂÂÂ ‰
K Â
A Í Â
A K Â. Â Â Â Â ‰ Â ÂÂ‰ I I Â. Â Â Â Â Â ‰ ‰. Â
˛ Í Í
E ‰. Â Â Â Â Â ‰ ‰ I I I I Â. Â Â Â
Í
75
A ÂÂÂÂ‰ I Â. Â Â Â Â Â Â
Â Â ÂÂ‰ I K Â Â Â
Í
ÂÂ‰ Â Â ÂÂ‰ Â Â ‰ ‰
J I I Â. ÂÂ Â
A Í
Ê
A ‰ J I K Â Â Â Â. ÂÂÂÂ ÂÂÂÂ
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82
A Â Â Â Â Â Â Â K Â. Â Â Â Â Â Â ‰. Â S„
Í
Â Â Â Â „ Â Â Â
A L Â Í
Â ‰ Â „
A Â Â Â Â Â Â Â ‰ K Â Â Â Â Â Â Â Â Â Â ‰ „
˛ Í Í
E I J Â. Â Â Â Â Â „ „
Í

ICB-60 Fantasia in 4 parts
Adapted for Recorders Girolamo Frescobaldi (1583-1643)
&C Ó ˙ œ œ . œJ œ œ œ œ œ œ œ œ œ œ b œ œœ˙ œ w
S
œ
&C ∑ ∑ Ó j j œ
˙ œ œ . œ œ œ œ
œ . œ œ œ œœ
œ
A
˙ œ œ . œœ œœ œ œ œ œœ œ œ b
VC œ J bœ œ œ œ œ b˙ œ œ œ Nœ #œ œ
T
œ
?C ∑ ∑ ∑ ∑ ∑ ˙
B œœ
∑ Œ œ œ œ. œ œ œ œ œ ˙ #œ œ œ N œ œ œ œœ
œ J œ œ
7
S & œ #œ œ nœ œ
& œ œœœœ ˙ Œ œ j œ œ œ j
. # œ N œ . œ
œ œ œ œ
A
œ œ œ œ œ œ œœ
j
T V œ. œ œ Nœ œ ˙ bœ ˙ œ œ œ œ ˙ ˙ Œ œ
œ œ
œ. œ
J
? œ. œ œ œ œ w ˙ ˙ b˙ w ∑
B J ˙
˙
&œ
œ ˙. œ œ #œ ˙ ∑ Œ œ œ œ. œ bœ œ œ
13
S
œ J
Ó Œ œ j
&˙ ˙ w œ . œ œ œ œ œ
œ œ œ œ œ œ œœ
A
œ
T V œ œœœ œ œœœœœ œ œœœ œ œ œœœœœ œœ œœ˙ œ œ #œ ˙
? œ œ . œJ œ . œ œ . œ œ œ œ œ
Ó Œ œ œ J J œ œ ˙ b˙ ˙ ˙
w.»w
B
3 ˙ ˙ . œ j j
w w ˙ œ œ . œ Ó
19
S & 2 ˙ œ œ. œ ˙ w
& 32 Ó Ó
A
#œ œ ˙ œ w ˙ ˙ ˙ ˙ ˙ ˙ #˙ ˙. œ Nœ œ
32 ∑ ∑ Ó Ó ˙
T V œ Nœ ˙ #w ˙ ˙ ˙
? w 32 ∑ ∑ ∑ ∑
B w
Page 165
jœ œ œ
2 Fantasia in 4 parts
bœ ˙ ˙ ˙ N˙. œ #˙ w
& Ó Ó ˙ œ. œ ˙
25
S
˙ ˙ ˙
& w Ó
˙ ˙ ˙ œœœœ˙ ˙. ˙ œ ˙. œ œ #œ ˙ ˙ N˙
A
˙ ˙ ˙ ˙ w
T V w ˙ bw ˙ w ˙ w Ó
B
? ∑ ∑ ∑ ˙ ˙ ˙ ˙. œ œ œ w Ó
w»w.
& Nw b˙ œ œ ˙ ˙ ˙. œ ˙ ˙. œ Nœ #œ ˙. œ #˙ C ˙ ˙
31
& ˙ ˙. œ œ œ œ ˙ ˙ w ˙ w C ˙
A
œ ˙. œ ˙ ˙
V ˙ ˙ ˙ ˙. œ b˙ ˙. œ ˙ w w ˙ C w
T ˙
? ∑ ∑ Ó Ó ˙ ˙ ˙ œ œ œ œ ˙ C ˙ #˙
B
˙
& ˙ ˙ œ œœ ˙ œ œ ˙ Œ œ œ. œ œ bœ ˙
37
S #œ ˙ œ w J
& œ œ ˙ Œ j
A
œ w œ ˙ œ w w œ œ. œ œ œ œ ˙
T V Ó ˙ œ œ œ b˙ œ œ œ œ œ bœ ˙ Nw Œ œ œ . œJ œ œ ˙
? w bw ˙. œ œ œ ˙ Œ œ œ . œj œ b œ ˙
B
w
œ œ œ œ. bœ j N œ œ# œ N ˙
& Œ œ œ. w œ. œ œ Ó Œ œ œ œ
44
S
J J
& Œ œ œ. j Œ œ
A
œ œ œ ˙ w œ œ œ œ œ œ ˙ ˙
j
V Œ œ œ. œ œ bœ œ œ
J
w ∑ œ. œ œ #œ œ œ N˙ œ œ
#
T
?Œ j Œ œ œ œ j
B
œ œ. œ œ bœ ˙ w
∑ œ. œ œ œ œ œ
Page 166
œ. œ œ œ œ œ œ œ
Fantasia in 4 parts 3
& œ . œj œ œ œ œ œ œ ˙ #œ ˙ N˙ œ œ ˙ Ó
50
S
J
& ∑ Ó Œ Ó Œ
A
œ œ œ œœœ œ œ ˙ œ bœ œ ˙
j j œ œ œ ˙ j
T V ˙. œ œ. œ œ œ ˙ bœ. œ œ œ œ Ó œ. œ
? Nœ œ œ œ œ œ ˙ ˙ œ . œ œ œ bœ œ œ œ œ œ
B b˙ œ œ J ˙
œ œ œ œ œ œ b˙ ˙ Œ œ œ bœ ˙ Ó
56
& œ œ ˙
#
S
& . j ‰ jœ ‰ jœ j
A
œ œ œœœ œ œ ˙ œ œ œ. œ œ œ œ œ #˙ ˙
j b œ j
T œ
V œ œœ b œ . œ œœ ˙
œ œ . œ œ . œj b ˙ œ œ Œ œ œ bœ
#œ
? ∑ ∑ ∑ Œ bœ œ œ .
œ œ œ œ œ
B
J
∑ Œœ œ œ œœ ˙ #˙ Œ œ Nœ bœ œ œ œ
61
S & œ œ œ
& Œœ œ . N œj œ . œj # œ œ œ œ # œ ˙ œ ˙ Ó Ó
.
j œ œ œ œ œ . œj
œ œ
A
œœ #˙ j #
œ ˙ œ. œ œ œ œ œ œ œ œ œ Nœ œ œ œ œ œ
T V œ œ Nœ ∑
? #œ. œ œ œ ˙ ˙ œ œ œ œ œ œ
œ œ œ
œ œ œ œ œ ˙
Ó œ . œ
j
B J
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4 Fantasia in 4 parts
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DSH 2008-08-09
Page 168
G.P. Palerina
Vierimmige
Ricercare
für Bloflöten-Quartett
oder andere Inrumente
Page 169
Page 170
ICB-61
Primo Tono
Giovanni Pierluigi da Palestrina
ÍÍÍÍ

Z Z
Sopran in c” G 2 S <
- -

\
Alt in f ’ G2S < - - - ÃÃ
= = = Z
Tenor in c’ G2S <
- -
8
= = = =
Bass in f G2S ( (

8

7

= Z
G2 >
- - ÈÈ -

=
G2 < - - ÈÈ
ÏÏ ÈÈ
Z Î

G2

ÈÈ
8
ÈÈ
=

G2 : 4

< <
>
8
Page 171

13

Ï
Ï Î

G2 (
>
ÚÚ
ÈÈ -

G2 ÊÊ -
-
\
=

G2 <
>
- - -
8
G2 ( ( 2

(

8
19

2 4 = = <
G ÎÎ > (
\ =

G2 < <
>
-
^

Z
G2
<
O - -
- -
8

=
G2 ( >
( (
>

8
Page 172
2 Primo Tono

26
Ê
Ê \
2

G (
ÃÃ ÉÉ >

G2 <
> - -
-
^

G2 >
( (
>
(
8
=
G2 < <
( > (
8

32
ÈÈ \
6 \

G2 : Ä
Ä ÈÈ
< <
>
ÈÈ
Z

G2 O
- - ÈÈ
Ê
Ê
\
=

G2 <
? - ÕÕ ÈÈ
-
8
ÈÈ
G2 Z < <
>

(

-
8
Page 173
Primo Tono 3

38
ÎÎ

( \ ^
G2 - - ÎÎ

?
<
ÃÃ - -

ÃÃ ÎÎ ÕÕ
G2 ÚÚ
ÚÚ

G2 < <
> - - ÎÎ

> -
8
ìì
=
G2

<
>
-
8

44
\ Z Z P^

G2 < > - - Ï
( (
Ï - ÃÃ
Z P
Î
Î Z
G2 - >

¬¬
Î
Î ^ Z
¬¬ Z
P
G2
- Ï - -
(

Ï -
8
= ÚÚ P
G2 <
Z ( Z
(
8
Page 174
4 Primo Tono
ICB-62
Secondo Tono

Sopran in c” G S
-

ÈÈ -
Z
4
=
Alt in f ’ GS - - -
= = =

Tenor in c’ GS <
-
8
= = = = = =
Bass in f GS

8

7

\
^

G <
> -

Î
Î -
\

-
G
> - >
< = =
G
Î
Î -
8
Z
à
à
G ( <
(
-
8
Page 175
2 Secondo Tono
\

15
Z

G Z
- >

<
G à
à Î
Î
>
= \

<

G > > ÃÃ
-
8
Z \

G ( < <
>
- à
à
8
\

23

< =
G > - -
ÎÎ

4
ÎÎ
G >

=

G ÎÎ >
8
ÏÏ Z
= =
G
<

8

30

=

G C <
>
9 ÎÎ
\

<

G
> >

G ; <
>
8
\

ÎÎ

G >

9 9

8
9 >
Page 176
Secondo Tono 3

37
\

G Î
Î - > >
2

ÏÏ =
G >

< = <
G
8

G ( \ ( <

>

8

44
ÎÎ

G - Î
Î
< <
>
\ \

Î
Î - -
G > >

G < <
>
8

G < < ( <
>
8
\
50

Z Z
2 P
G ì
ì ÃÃ Î
Î
> Z
2 Z \ P

G > >

Î
Î
Z P
G > - ÏÏ >
8

P
G > : Z 4

8
> :
Page 177
4 Secondo Tono
ICB-63
Terzo Tono
\
È
È
GS
Sopran in c” (
=

Alt in f ’ GS <
-
= = = =
Tenor in c’ GS <
(

8
S = = = = = = =
G
Bass in f
8
ÍÍÍÍ ÎÎ

8
=
G > :
(

G
= =
> ÎÎ
ÎÎ

G > >
>
8
-
ÚÚ
( <
G (
>
: 8
8
Page 178
2 Terzo Tono

15

G ( >

G - > ÎÎ
-

=
G >

<
8

=
G < <
( >
8
22

G > ( > ?
=
G >
- >
Î
G <
< (
> >
8
<
G
>
8

29
ÏÏ Î
G > >

>
-
=

G <
> ÏÏ
Î \ ÏÏ

G O =

8
-
< = < ÏÏ
G ( >
8
Page 179
Terzo Tono 3

36
ÎÎ \
ÏÏ c’-Flöte

G <
9 D <
> :
ÎÎ

ÎÎ
G <
> > ÎÎ
ÏÏ Î ÎÎ
Î = <
G > ? - > ÎÎ
8
ÏÏ ÎÎ
G < <
> >
8

43
Î Z Z Î
Î
G > >
Î Î
Î
=
G
> à <
> Î
Z Î à Î \
=
^ <
G > Î
>
:
8
= Î Î
< <
G >
8

50
Î à Î

G < < P
> Î

Z P
G <
>
-

à Î
Î Î Î P

G > 9 \
8
Z
= Î Ï P
G >
8 ^ \
Page 180
4 Terzo Tono
ICB-64
Quarto Tono

ÈÈ

ÈÈ

ÈÈ
Sopran in c” GS
ÈÈ

ÈÈ

GS
= <
Alt in f ’ > ÈÈ
= = = = =

Tenor in c’ GS <
8
S = = = <
Bass in f
G = <
8
ÎÎ
8

G (

-

G ÎÎ -

=
G <
> Î
Î - >

8
< = <
G 6 >
8
Page 181
2 Quarto Tono

16
ÎÎ ÎÎ \ \

G < <
: O
²² àà

- < <
G - - > >

ÎÎ
=
G <
? - àà -
8
= < <
G

8
> > -
Î
23
à
=

G ÏÏ <
àà -

- <

G ÎÎ > -

G <
> -
<
> - O

8
= à ò
<
G
8

30
=
G <
- ÎÎ ÎÎ

ÎÎ

ÎÎ

G ÎÎ
> -
= =
G < <
>

- Ï
Ï
8
ÎÎ = =
G >
(
8
ÎÎ
Page 182
Quarto Tono 3
\ \

37
=
G
> - -

G > - ÎÎ
= = =

G <
> - ÎÎ
8
Tenorfl.in c’

G < ÎÎ (
- - ÎÎ
8
44

G
< =
> - - ÚÚ

=

G ÚÚ - ÎÎ < <
>
< < <

G ÎÎ > - - >
8
ÚÚ ÎÎ
< =
G
>
<
-
8
50

G
P
à Î > ÉÉ -
\ P
Î - < -
- Û
G ? Û >

P
G
à > > >
8
à
= < \
P
G à > 9
8
Page 183
4 Quarto Tono
ICB-65
Quinto Tono
Z Z

È
È

Sopran in c” G 2 S
-

;
- ÈÈ

ÉÉ

Z

=
Alt in f ’ G2S <
-
ÉÉ
È
È
= = = = = =
Tenor in c’ G2S <
8
= = = = = = =
Bass in f G2S

8

8

Z

Z

ÎÎ

G2 (
> -

ÎÎ ÎÎ ÎÎ -

=
G 2 ÎÎ - - - - ÎÎ ÎÎ

ÎÎ =
G2

-
< <
>
-
8
Z ÎÎ
G2
=

ÎÎ
( (

8
Page 184
2 Quinto Tono

15

^ ^

G 2 ÎÎ ÎÎ

-
^

ÏÏ
G2 ÎÎ <

Z

G2 - ÎÎ O
ÎÎ
8
ÎÎ
= =
G2

>
-
8
22
^ ^

= =
ÚÚ

G2 <
>

- - Ï
Ï Î

=
G2 <
>
- - ÚÚ -

= =
G2 - - ÚÚ (
>

8
ÚÚ
=
G2 > ( >
- -
8
29
à
à
=
G2 < >
- -

<
Î
Î -

= = =
G2 >
- - Î
Î à
à

Z

G2 - - Î
Î

> ÏÏ

8
ÏÏ
=
G2 >

- -
8
Page 185
Quinto Tono 3
^

36
Z

G2 > ÏÏ

-

- ÎÎ

=
G2 >
ÏÏ - ÚÚ

= =
G2 <
> ÏÏ
ÎÎ
8
ÏÏ

G2
<

8
@ > (

42
Î
Î
=
G2 <
> ÏÏ
(
8

ÏÏ
G2 > -

G2 (
òr
- >
8
Z
= ÏÏ
G2 ( <
>

8
49

2
ÎÎ
<
P
G 6 > ÏÏ

P
ÏÏ
G2

P
G2 ( > > -

ÎÎ
8
P
G2 (

-
8
?

Page 186
4 Quinto Tono
ICB-66
Sesto Tono

Sopran in c” G 2 S < >

-
=

G2S
-
=
Alt in f ’ -

= = =
Tenor in c’ G2S

- -
8
= = = = =
Bass in f G2S > (

8
8

ÎÎ
G2 <

-

> ÎÎ
8
9

G2 < <
> -
-
ÎÎ

G2 <
>

- -
8
=
G2
<
> O
(
8
Page 187
2 Sesto Tono

15
ÏÏ
= ÏÏ

G2 <
> >

ÏÏ

^

G2 <
>

= =

G2 <
>
ÏÏ
8
Z
ÏÏ = = = =
G2

8
ÍÍÍÍ
22

= =
G2 (

-

=

G2 > - > -
ÎÎ

G2
>

- - -
8
ÏÏ
ÎÎ
G2 <
Z
<
(

8
>

> (
7
29

= =
Î
Î

Î
Î
G2 >

- - Î
Î

G2 - > - -
Î
Î

G2
> (
- Î
Î
8
= = =
G2

8
6 Z (

(
Page 188
Sesto Tono 3
37
ÎÎ
= =
G2

- -

ÎÎ ÎÎ ÏÏÍÍ

G2 >
-

- -
ÎÎ
G2 > ( (
>

8
G2 >
(
8 :

44
ÍÍÍÍ ÎÎ

G2

=
G2 <
> ÎÎ

\

=
G
2
> @

8
=
G2
O >

8
51

à
à Î
Î P
G2 ( > 8 (

P
G2 >

Î
Î
-
-
P
=
G2 < <
>
(

8
= P

G2
<
>

8
Page 189
4 Sesto Tono
ICB-67
Settimo Tono

GS Î
Î
Sopran in c”
- -

=
Alt in f ’ GS < - Î
= = = = = =
Tenor in c’ GS
-
8
S = = = = = = = <
Bass in f
G 9
8

9
= =
G <
- >

=
G Î - < - - -
>
\

G <
8
Î - > É É
ÍÍ
= =

G 6 (
Z >
8
-
Page 190
2 Settimo Tono

18
Î

G Î - Î >
É É

Î Î =
G Î
>
= = = <

<

G > >
ÉÉ
8
É É = =
G
> 9 >
<

8

27
\

G
= = =
- Î

< = = <

G - ÏÏ >
\
=
G > - >

8

= = Z
<
G > > ^ (
8

36

= <
G > > >

\

G >
= =
G Î ( O <
>
8
=
G
Z ( <
> O <
8

Page 191
Settimo Tono 3

45
ÍÍ
<

G > - O ÎÎ Ï Ï

<
G > > >
ÎÎ

G <
> -
=
8
= =
G> ( <
>

8

54
ÍÍ
= =
G Î

> Ï
Ï Ï Ï
-

G ÏÏ < Ï Ï Ï Ï
> Î
Ï Ï
G
= <
- Î

> Ï Ï Ï Ï
8
ÍÍ Ï Ï
= = < < =
G > -

8

62
Ï Ï \ \ P
Î
G >

- Î 8 > - Î
\

< <
- Î P
G Ï Ï
> Ï Ï
Î P

G > Ï Ï Ï
Ï
8
< Î P
G > (
E
9

8
Page 192
4 Settimo Tono
ICB-68
Ottavo Tono
Î
Î

=
GS <
È
Sopran in c”
É
É
GS
= < =
Alt in f ’ Î
Î -
Î
Î
= = = =
Tenor in c’ GS
8
S = = = = =
G
Bass in f

8

8 ÍÍÍÍ
= = =
G
\ \
ÍÍÍÍ

G< Î
-

< = =
G Î ÏÎ >
8
-
ÍÍÍÍ ÍÍÍÍ < <

G >
8
Page 193
2 Ottavo Tono

16
ÏÏ
= =
Î
G
<
>

-

<
G > - ÏÏ - Î
Î Î
ÏÏ
G >
9

ÏÏ - -
8
Ï
Ï = = =
< <
G ( >
8
\
Ï Ï Î
24

<

G >
-
> ÏÏ
-
= =
G <
>

- ÏÏ

\ ÏÏ
ÏÏ

G

( : ( >
8
Î <
G ( > (

8
( ( <

32

G : >

ÎÎ

-

G < <
>

- 8
òò
= = =
G >
-
8
< = <
G > ( : >
8
(
Page 194
Ottavo Tono 3

40
\
Ã
Ã < <
G > -
( 8 ;
Î

G 6 ( <
>
>

-
Î

G < > ( ( 8
8

= < Ï
Ï
G > >
8

48
Î Î
G > ( ( > ( : =

G Ï < = <
Ï - Î >
= =

G <
> > ÏÏ
8
ÏÏ
< < 8
G ( > ( (
8

56
\
ÏÏ Î ÏÏ P
G > ÏÏ
8
-

< P
G Î > > ÏÏ
\

P
G > O
Î ÉÉ
8
P
\
G > ;
8
Page 195
Giovanni Gabrieli
8 Part Canzoni
Page 196
Page 197
ICB-69 Canzon Duodecimi Toni (Ch.174)
Giovanni Gabrieli (c1554-1612)
       
Descant Recorder 1/8    
              
Treble Recorder 2/8  
   
Tenor Recorder 3/8

          
 

 
Bass Recorder 4/8   
 
Descant Recorder 5/8     
Treble Recorder 6/8


   
Tenor Recorder 7/8


   
 

Bass Recorder 8/8
    

          
4
      

       
          
  
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        
             
  

 

    
    
    


   

Page 198
2

8
  
          
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
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13
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
 
           

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3

18
             
     
         
      
     
          
        
      
 
                 

       
  
     





    
 


   
    
 
      
   
  
     
22
   
   
   
       
  
   

 
        
      
      
       
 
                


         
  
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4
26

   
   
   


  

                    
 

    
 
 

        
 
      

           
 
    

              



29
            
 

          
 
          


          

 
                   
    
              
 
               
    
              
   
 
Page 201
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32
     

           
          
      
           
        
           
  
  
 
   
     
  
     
     
  
  


    


36
           
  
    
   
   
  
           
     
     

               

            
  
         
  
       
       
    
               
      

Page 202
6
40
 
             
    

    
         

             
   
   

     



     

          
 
 
       

 
    
     
     
       

 

44
           
 
       
  
       
  

       
 
    
 

   
     
     
      
          
      




Page 203
7
47
              
           
               
     
   
       
                 
     


            

  
   

    
 
   
 

    
     
      
51
  
 
                

        
       
   

      

   

   
  
    
       
 


    

Page 204
8
         
54
       
                   
  
                   
   


     

    
      
    
    
      
  
 
  
    
          
58
      

                  
  
       
        
             
  

 

    
    
    


   

Page 205
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
62
  
          
       

    
  
          
     
 
      

          
    
         
   
          
  


    
 
     


67
         
  
      
   
          

     


    

            
  
        
   
     
 
      

 
           

Page 206
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
72
             
    
         
     
     
         
         
     
 
                

       
  
     





    
   
   
    
 
      
   
  
             
76
     

           
  

           
  

           
   


     
     

      
     
           

        

  
Page 207
11
      
79
  
 
  
                 
    
           
  



      
   
     
             
     
  
    
         
    
       

     


82
           

     
      

  
 
 
 
           
    

      
   

          

      
         
 
 

      

 
 
  
 
  
  

Page 208
1
Canzon Noni Toni à 8
ICB-70 Giovanni Gabrielli (c.1554-1612)
5 5 5 5 5 5
Fiori del Giardino (1597)
5 5
Canto I
5
5
)
Alto I
5 5 5 5 5
5
5 5 5

Tenore I 5
5

8
Basso I
5
5
Canto II
5
5

5
Alto II
5

Tenore II 5
5

8
Basso II
5
5 5 5 5 5 5 5 5
5 5 5
5

5 5 5 5 5
5
5 5 5 5 5
5 5
5 5 5 5 5 5
5 5 5 5 5 5 5 5
5
8

8
Page 209
2 Canzon Noni Toni à 8 (score)

10
5 5

)
5 5 5 5
5 5

5 5
8

5 5 5
)
5 5

5 5 5 5 5 5 5
5 5 5 5 5 5 5

8
5 5

5 5 5 5 5 5 5 5 5
) 15
5 5 3
5 5 5 5 5 3

5 5 5 5
5 5 5 55
3
5 5 5
8
5 5 3

5 5 5 5 5
5 5 5 5 5 5 3
5 5 5 5 5 5 5 5 5 5 5 3
5 5 55 555 5 5 5 5
3
5 5 5 555 55555
5 5 5 5 5 5 5 5 5 5 5 5
8
3

Canzon Noni Toni à 8 (score) 3
5 5 5 5 5 5 5 5
20
5 5 5
5 5 5

5 5 5
)

5 5 5
8

5 5 5 5 5 5 5 5 5 5

5 5 5 5 5 5

5 5 5 5 5 5

5 5 5 5 5 5

8

5 5 5 5 5 5 5 5 5 5 5 5 25

8

5 5 5 5 5 5 55 5 5 5 5

8


5 5 5 30 5 5 5 5 5 5

8

5 5 5
5 5 5 5 5 5

8

5 5 5 35 5 5 5 5 5 5
)

555

55

55

55
8

5 5
5 5 555

55
55
) )
5
55

8

5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5
40

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

5 5 55 5

5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5
5 5 5
8
5

5 5 5

5 5 5
5 5 5

5 5 5
8

)
5 5 5 5 5
5 5 5 5 5
45
5 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5555

5 5 5 5 5 5 5 5 5 5 5 5 5
8
5

8

Page 213

2
5 5 5 5 5 5 5
50

2
3

5 5 3 5 5 5

5 5 5
3

8
5 5 5
3

5 5 5 5
3 5 5 5 5 5 5 5

5 5 5
3

) )
5 5 5
3
5 5 5

8
3

55 55 5 5 5 5
5 5 5

5 5 5

5 5 5
5 5 5 5 5 5
8

5 5 5 5 5 5 55 5 5 5 5

5 5 5
5 5 5
8


60 5 5 5 5 5 5 5 5 5 65

8

5 5 5
5 5 5 5 5 5

8

55 5 5 5 5 5 5 5 70
)
5 5

5 5

5 5
5 5

8

5 5 5 5 5
5
5 5

5 5
5
5 5
8

5 5 5 5 5 75
5 5 5
5 5 5 5 5 5 5 5 5
5 5 5
5 5 5 5 5 5 5

5 5 5 5 5 5 5
5 5 5 5 5 5 5 5
8
5

5 5 5 5 5 5 5 5 5 5

5 5 5 5 5 5 5 5 5 5
5 5 5 5 5
5 5 5 5
5 5 5 5 5 5 5
5 5 5
8
5 5

5 5 5 5 5
5
)

5 5 3
5 5 5 5
5 5 3
5 5 5 5 5
5
3
5 5 5
5 5
8
3

5 5 5

5 5
5 5 5 5 5
3
5 5 5 5 5 5
5 5 5 3
5 5 5
) 5 5 5
)
3
5 5 5
5 5
8
3


80
55 5 5 5 5 5 5 5 5 5 5 5 5
5

5

)

8

5 5 5 5 5 5

5 5 5 5 5 5 5

5
5
)
5

8

Canzon Primi Toni
ICB-71
                      
(Half bar)
    
Descant Recorder (L1)   
                   
Treble Recorder (L2) 
  
           
Tenor Recorder (L3)    
 
          
Bass Recorder (L4)
 
  
Descant Recorder (L5)      

Treble Recorder (L6)     

Tenor Recorder (L7)     
 

Bass Recorder (L8)
   

          
4
    
        
  
      
   

   
    
                  

  
                 
  
         
   
      

 

  
Page 218
2
7
 
             
     
  

          
    

 
  
 

                     
         

             
 

             
 
       
    
          
10
           

      
  

       
     
      

        
                        
 
   
  
 
     
    

     
  
 
Page 219
3
                          
13
    
   
                      
  
                
  
     

      
  
    
  

   

   
 

    

16
      
  
    

 
    
  
 

    
 
                         
                   
  
          
  
     

    
 

Page 220
4
 
19
 
             
      
  
           
  
        

   
 

                           

            
 
         
    

       
    
           
22
         

     
   

         
   

  
          
                       
 
    
 
 

        

       
  
 
Page 221
5
                   
25
 
          

 
            
   
            
 
 

  
             
      

  
        
   

        
   
           
             
28
       

           

   
       
        
        

 
      
                     
     
        
     
  
    
          
        

   
    
 
Page 222
6
        
31
 
                
         

 
           

 
    
   
 
             
        
          

  
      
 
 
       
      
34
         

          
   
         
   

         
   
                 
 
       
  
 
        
   

         

  
Page 223
7
              
37
     
      

    
   
       
 
    
  
   
   
                  

         
   
   
            
        
        
 
      
  
            
       
40
    
 
            
 
     
      
     

  
   
                
  
         


      
    

     
      
Page 224
8
                  
        
43
 
       
 

   

                     
        


      
  
       
 
     
     
  

     
 
       


 
    
  

48
          


  
     
        


   
       
                    
          
            
  

               

      
   

          
        
 
Page 225
9
    
53
            
         
           
       
   

                   
 
     
     
     
       
     
  
        
 
    
     
 
 
         
   
  
         
     
  
     
56
          

   
        

   
      
 
   
      
     
 
      
  
   
  

       
  
    

 
  
   
Page 226
10
             
59
   
    
    
 

   
   
       

 
     
   
                        
  
  
           

        
       
        

 
 
         
63
     
 
     

   
         
    
      

 
   


        
               
 
         

  
               
  
 
 
      


       

Page 227
11
                           
68
   
           
  

           

    
  
  
              

 
                
 
     
   
  
        
      

 
       
     
             
72
      

        

       
   
   
 

         
            
       
           
      


              

          
  
  
Page 228
12
               
75
    
  
     
     

             
 

    
     
 
          
 
      
   
 

sic.

        

  
        
Page 229
ICB-72 Canzon Septimi Toni a 8, (2nd of 1597)
                 
Descant Recorder 1.1          
    
Treble Recorder 1.2          
Tenor Recorder 1.3        

 

Bass Recorder 1.4
    
 
Descant Recorder 2.1    
Treble Recorder 2.2


   
Treble or Tenor
Recorder 2.3     
 

Bass Recorder 2.4     
           
4
          

                
   
        
               


        


   
   
   


  

Page 230
2
           
7
          
 
         
    
       
    

 
                  
 
   
            

          

    
    
    


   

11

      

     
 
    
 
 


  
         
                

              
  
               
     
    
       
 
 
   

Page 231
3
15
 
      
  
    
  
    
 

 

  

                  
     

                
    
         

      
  
  

                   
  
19
               
 
         
   

        
     
 
               
   
 
               
   
       
      
         
    
 
              
  
Page 232
4
           
24
   

               
    
       
   
 
         
 
      


           
       
                
     
                  

  
               
  
  
  
    
29
            
      
     
  
       
 

 
       
              
            

    
      
    
    
  
    
       
         

Page 233
5
33
             
           
                     
   


                
            
               
          
 


         

    
 
           
              
          
  

  
37

   
   
   


  

                   
      

                 
    

                  
  
  
 
  
             

 
 
Page 234
6
40

   
   
   


  

            
          
  

         
           

           
      

              

    
43
 
              

     
   
 
       
   
     
    



    
  
      
     
 
            
 
      
         
     
  
        


Page 235
7
  
48
         

      
    

     
      
 
         
       
 
              
       
           

      

                

             
          
  
               
53
 

               


 
         
 
   
     
         
         
      
        
     
       

      
       
    
       
 
   
  

Page 236
8
57
    
 
   
  
 
    
        
 
  
   
  
  

   
         
         
   
  
      
    

60
        
   
        
    
        
      
  
   
 



     
   
  
 
      
  

 

Page 237
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63
                  
   
         
  

                
 
 
          
    
  
 
         
 

       

        
          
 


      
66
     
   
             
 

               
            
  


              
  
             
  
         
     
          
     


Page 238
10
    
69
   
           
       
      

            

  
  
       

    

      
             
    
     
         
      
   

    

  
  
74
       
        
 
        
    

   
 
      
 
 
              
    
 
                
   
    
    
   
  
           
    
 
                 
   
Page 239
11
              
79
  

               
   
         
    

            
    
     

 
        
          
   
             


           
     
     
              
     

              
84
  

               

             
   
        

            

  
             
  
   
    
 
 
           
               


Page 240
12
             
87

   
           
  
         
    
             
    

  
 

         
            
    
 
               
        
  

 
         
              
90
    
    

  
      
  
                 

    
    
       
    


    
             

  
       
        

            
   
    
   
 
    
Page 241
ICB-73 Canzon Septimi Toni a 8 (Ch.172, 3rd Canzona of 1597)
(Modernised key signature, transposed down a tone)
      
                 
Descant 1.1


             
Treble 1.2       
Tenor 1.3                      
  

                 
Bass 1.4


        
      
Descant 2.1    
             
Treble 2.2     
Tenor 2.3                   
 
     
Bass 2.4             
4
         
                 
               
      



                 
     
     
   



  
   
       
        

             
       
    
              
       

       
Page 242
2
8
           
       
             
  
          
       
 
    
            
           
    
       
    
     
       
 
   
            
         
14
          

      

  
      
         
       
      
         
    

          
     
             
  
        
     
         
   

 
Page 243
3
             
20
  

           


            

 
   
      
 

                
      
         
  
         
        
     

 

24
 
        
            
                 
     
                 
    


                 
  
  
                    
   
         
             
          
          

        

           
  
Page 244
4
28
      
               
    
            
         
 
      
            
 

 

                
        
                    
    
            
        


           
       

  
       
32
 
                
             

     
       
 
      
     

 
           
  
          


     
            
                    
     
       
    


Page 245
5
36
                
         
            
      
    
       


              

           
             
 
              
    
          
                 
    
       

    

40
             
       
          
   

               


 
    
 
    

 
          


   

             
     
             
          
        

  
Page 246
6
      
44
           
 
             

      
       
      
   

    
            
    
        
  
    
     
  
   

 

      
48
                       
 
                 
      
 
       
 

  
        
 
        
           
 
 
       
       
       
    

 
  
Page 247
7
  
52
  
      
              
      
           

    
              

         
      


  
     
                   
       
           
  

              
     

               
          
56
         

        


    
 
            
  
 
        
  
       
             
  
       

   

             
  
        
  
  
Page 248
8
     
62
           
 
             
 
          
      


      
         
              
  
             
 

         
      
 
               
   
                 
67
          

          
        
    
             

     
             

 
                
        
       
       
    
       

           

  

  
Page 249
9
  
71
                
 
       

       
    
   
           
 
    
         

   
          

           


       
 
           
                   
   
 
    
             
 
    
75
        
        
                     
  
   
                
 
        

     
  
                    
  
             
    
  
   

                   
   
      

 
            

Page 250
10
  
79
        

       
 
    
    
   
    

      

     


       

   

 
        

81
         
 
         

 
      
     
     
  

 

   
            
     
        

 
        
   
      
    

 

 
Page 251
ICB-74 Canzon XII
(1615)
Giovanni Gabrieli
Canto
Alto
Tenore
Sesto
Settimo
Quinto
Ottavo
Basso
( )
Page 252
Giovanni Gabrieli: Canzon XII 2
10
15
Page 253
20
Page 254
25
Page 255
30
35
Page 256
40 45
Page 257
50
Page 258
55
60
Page 259
65
70
Page 260
75
Page 261

Italian Canzon Book Score

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Italian Canzon Book Score

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Formati disponibili

Italian Canzon Book

A collection of 4 and 8 part

Music Available Electronically at Petrucci Music Library

Libro Primo de Canzoni da Sonare (Venice, 1584) – Florentio Maschera

ICB-16 Maschera, Florentio Canzon Prima – La Capriola

ICB-01 Canzon prima

Typeset by Allen Garvin (aurvondel@gmail.com) (ver. 2015-09-13) CC BY-NC 2.5 Page 5

Typeset by Allen Garvin (aurvondel@gmail.com) (ver. 2013-04-24) CC BY-NC 2.5 Page 16

Typeset by Allen Garvin (aurvondel@gmail.com) (ver. 2013-04-28) CC BY-NC 2.5 Page 20

Typeset by Allen Garvin (aurvondel@gmail.com) (ver. 2013-04-28) CC BY-NC 2.5 Page 24

Typeset by Allen Garvin (aurvondel@gmail.com) (ver. 2013-04-24) CC BY-NC 2.5 Page 28

ICB-08 8. Canzon ottava

Typeset by Allen Garvin (aurvondel@gmail.com) (ver. 2013-04-24) CC BY-NC 2.5 Page 32

 5 555 55 5 5 5 55 555  555 5

Typeset by Allen Garvin (aurvondel@gmail.com) (ver. 2013-04-16) CC BY-NC 2.5 Page 41

ICB-12 12. Canzon duodecima

5 Alessandro Raverii, Canzoni per Sonare (1608)

5 5 5 5 555 5555 55555 5 5 5 5 5

30   555 555 55 555 55

 555 555 555 55 5 555 55 555

ICB-15 15. Canzon quintadecima

Typeset by Allen Garvin (aurvondel@gmail.com) (ver. 2013-05-16) CC BY-NC 2.5 Page 54

Edited by Allen Garvin

Hawthorne Early Music

Hawthorne Early Music Publications, Dallas, TX

ICB-20 Canzon Quinta 'La Maggia'

ICB-22 Canzon Settima 'Al S. Pompeo Coradello'

ICB-29 Canzon Decimaquarta

ICB-31 Canzon Decimasesta

ICB-33 Canzon Decimaottava 'La Villachiara'

ICB-35 Canzon Vigesima

ICB-36 Canzon Vigesimaprima

Edited by Allen Garvin

Hawthorne Early Music

Hawthorne Early Music Publications, Dallas, TX

ICB-37 Canzoni da Sonare, Libro Primo (Venice, 1600)

 



  

   

 

ICB-58 Canzon per sonar à 4

arr. for recorder SATB

(C) Jürgen Knuth Page 163

(C) Jürgen Knuth Page 164

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Treble Recorder 6/8

Tenor Recorder 7/8

Tenor Recorder 1.3        

Treble Recorder 2.2

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