Praeludia [ID: 101; W2001: 1; seen] In: Adriaenssen 1592; D-BSstb C 39 2°.
A set of 15 preludes; modes and finals mentioned in the titles. There are 2 preludes for each of modes 1, 9, and 12. The second prelude in these modes is a transposed and slightly altered version of the first.
Magnificat (V-CVbav CS 44) [ID: 354; W2001: 2; seen] In: V-CVbav CS 44.
Contains 12 Magnificats in an incomplete cycle (tones 5 and 7 are lacking); they are composed by Agricola, Brumel, Compère (incomplete), Escribano, and Prioris. The authorship of two works is disputed.
Exempla [ID: 257; W2001: 3; seen] In: Agricola 1539.
A set of 4 examples, 3 of which already occur in the 1533 reprint of Agricola 1528 (not a cycle). In each piece, the tenor is in an authentic mode, and the bass in the complementary plagal mode.
Fugae [ID: 256; W2001: 4; seen] In: Agricola 1539.
A set of 4 double canons. Discantus and tenor of each piece are in an authentic mode, while the altus and bassus are in the complementary plagal mode.
Grosse Psalmen [ID: 237; W2001: 5; seen] In: Rhau 1531; Agricola 1528.
A set of 8 settings of the first verse of the Magnificat in a simple contrapuntal style, and a similar setting of the first verse of the psalm In exitu Israel, in the tonus peregrinus.
Kleine Psalmen [ID: 236; W2001: 6; seen] In: Agricola 1528.
A set of 8 homorhythmic settings of the psalm-tones.
Magnificat [ID: 238; W2001: 7; seen] In: Agricola 1528.
A set of 8 settings of the first verse of the Magnificat in a simple contrapuntal style, and a similar setting of the tonus peregrinus.
Magnificat a 4 [ID: 205; W2001: 8; seen] In: Aguilera de Heredia 1618.
8 Magnificats, even verses only.
Magnificat a 5 [ID: 206; W2001: 9; seen] In: Aguilera de Heredia 1618.
8 works, odd verses only. All Magnificats are constructed over 2-part canons. The interval of imitation corresponds with the number of the psalm-tone.
Magnificat a 6 [ID: 207; W2001: 10; seen] In: Aguilera de Heredia 1618.
8 Magnificats, odd verses.
Magnificat a 8 [ID: 208; W2001: 11; seen] In: Aguilera de Heredia 1618.
8 Magnificats for double choir, odd verses.
Toni ecclesiastici [ID: 136; W2001: 12; seen] In: Albrechtsberger, Toni.
A cycle of organ works in 8 tones, probably composed between 1759 and 1765. There are 8 pieces for each tone: first a cadenza, then 6 verses, and finally a fugue.
Octonarium sacrum [ID: 646; not seen] In: Ambleville 1634.
Set of 8 Magnificats for 5 voices in the 8 tones. All magnificats are also assigned to one of the 12 modes (3, 4, 12, 5, 1, 2, 9 and 10, respectively
Psalmi [ID: 645; not seen] In: Ambleville 1623.
Set of 4-voice falsobordoni, 2 for each tone
Fughe [ID: 730; seen] In: Tevo 1706.
Cycle of 8 short fugues for 2 voices in the eight tones, ascribed to 'Rivotorto'. Composed no later than 1697 (death of the composer).
Canticum Beatae Mariae Virginis [ID: 129; W2001: 13; not seen] In: Animuccia 1568.
Set of 9 alternatim Magnificats in the 8 tones; 2 pieces for tone 6.
8 Fugen und 8 Praeludien [ID: 563; not seen] In: Fugen 1848.
Cycle of 8 preludes and fugues for organ in the 8 tones ascribed to Joseph Haydn in the source. Composed in the second half of the 18th century.
Beatus vir [ID: 568; not seen] In: D-Mbs Mus.ms. Mk 862.
Anonymous cycle of 7 homophonic settings of the psalm tones for 4 voices. Tones 5 and 6 are lacking, and there are 2 settings of tone 8.
Benedictus ad Laudes per octo Tonos [ID: 601; not seen] In: A-ST ChB 5.
Cycle of 8 psalm tone melodies for voice and organ (basso continuo)
Credidi propter [ID: 570; not seen] In: D-Mbs Mus.ms. Mk 862.
Anonymous, incomplete cycle of 7 homophonic settings of the psalm tones, for 4 voices. There is no settings of tones 3 and 5, while there are 2 for tone 8.
Dixit Dominus (D-FÜS 232) [ID: 557; not seen] In: D-FÜS 232.
A cycle of 8 Dixit Dominus for 4-voices and organ, through the 8 tones
Dixit Dominus and Magnificat [ID: 565; not seen] In: D-DONk KLR SK Ms03.
Cycle of 8 Dixit Dominus for voice and organ through the tones, plus a Magnificat in tone 1. Tones 3 and 4 missing in the MS source indexed by RISM
Dixit dominus (H-Bn Ms. Mus. IV. 835) [ID: 681; not seen] In: H-Bn Ms. Mus. IV. 835.
Set of 7 Dixit dominus for voice and basso continuo, probably forming an incomplete modal cycle. The source is undated.
Domine probasti me [ID: 571; not seen] In: D-Mbs Mus.ms. Mk 862.
Anonymous, incomplete cycle of 5 homophonic settings of the psalm tones, for 4 voices. Thereare settings of tones 1, 2, 3 and 7 (2 pieces). It is accepted as a cycle because of the organisation in 3 cycles of the other compositions in this source.
Esempi (I-Nc 20.2.31) [ID: 733; not seen] In: I-Nc 20.2.31.
Cycle of 12 2-voice fugue expositions.
Falsi Bordoni (A-ST Mus.ms. 2234) [ID: 602; not seen] In: A-ST Mus.ms. 2234.
Set of 9 4-voice falsobordone settings (tones 1-8 + tonus peregrinus) surviving in a source dated c. 1870, copied from 'nach einem Passionale vom Jahre 1620'
Falsibordoni (E-Bbc M 454) [ID: 362; W2001: 14; not seen] In: E-Bbc M 454.
8 falsibordoni for 4 voices through the 8 modes. The psalm-tone is in the soprano, except for mode 7, where it appears in the tenor.
Falsibordoni à 4 (A-Sd A 1220a) [ID: 607; not seen] In: A-Sd A 1220a.
Cycle of 8 falsibordoni for 4 voices (1 voice missing) with various psalm texts.
Falsibordoni à 4 (V-CVbav CS 343) [ID: 606; not seen] In: V-CVbav CS 343.
Group of 14 falsibordoni for 4 voices in the 8 tones.
Falsibordoni à 4, prima modulatione pari voce [ID: 587; seen] In: D-Mbs Mus.ms. 520.
Cycle of 8 falsibordoni.
Falsibordoni à 4, prima modulatione plena voce [ID: 586; seen] In: D-Mbs Mus.ms. 520.
Cycle of 8 falsibordoni.
Falsibordoni à 4, quarta modulatione pari voce [ID: 593; seen] In: D-Mbs Mus.ms. 520.
Cycle of 8 falsibordoni.
Falsibordoni à 4, quarta modulatione plena voce [ID: 592; seen] In: D-Mbs Mus.ms. 520.
Cycle of 8 falsibordoni.
Falsibordoni à 4, secunda modulatione pari voce [ID: 589; seen] In: D-Mbs Mus.ms. 520.
Cycle of 8 falsibordoni.
Falsibordoni à 4, secunda modulatione plena voce [ID: 588; seen] In: D-Mbs Mus.ms. 520.
Cycle of 8 falsibordoni.
Falsibordoni à 4, tertia modulatione pari voce [ID: 591; seen] In: D-Mbs Mus.ms. 520.
Cycle of 8 falsibordoni.
Falsibordoni à 4, tertia modulatione plena voce [ID: 590; seen] In: D-Mbs Mus.ms. 520.
Cycle of 8 falsibordoni.
Falsibordoni à 5, prima modulatio [ID: 597; seen] In: D-Mbs Mus.ms. 520.
Falsibordoni à 5, secunda modulatio [ID: 598; seen] In: D-Mbs Mus.ms. 520.
Falsibordoni à 6 [ID: 599; seen] In: D-Mbs Mus.ms. 520.
Falsibordoni à 7 (D-Rp C89) [ID: 301; W2001: 15; not seen] In: D-Rp C 89.
A cycle of 8 falsi bordoni for 7 voices.
Falsibordoni à 8 (I-BREd ChB 2) (i) [ID: 603; not seen] In: I-BREd ChB 2.
Set of 8 falsibordoni for 8 voices.
Falsibordoni à 8 (I-BREd ChB 2) (ii) [ID: 604; not seen] In: I-BREd ChB 2.
Set of 8 falsibordoni for 8 voices.
Fantasiae [ID: 611; not seen] In: D-Mbs Mus.ms. 1581.
Incomplete cycle of 27 fantasiae in modes 1-4, for organ.
Fantasias for organ (GB-Och Mus. 89) (i) [ID: 582; not seen] In: GB-Och Mus. 89.
Incomplete cycle of fantasias, consisting of works in mode 2, 4, 6, 7 and 8.
Fantasias for organ (GB-Och Mus. 89) (ii) [ID: 584; not seen] In: GB-Och Mus. 89.
Incomplete cycle of 9 fantasias in the 8 modes, with 2 works in mode 8.
Fantasias oder Versus [ID: 608; not seen] In: D-WINtj 78.
Incomplete cycle of organ pieces through modes 1-6 and maybe 7 (after 2 pieces not belonging to the cycle), date 1591 or slightly earlier. Two pieces are by Lassus.
Fugae per octo Tonos [ID: 715; not seen] In: D-BEU Mus-Ms 145.
Fugues (B-Bc 16698) [ID: 580; not seen] In: B-Bc 16698.
Cycle of over 300 fugues in the 8 psalm tone keys, with some irregularities in the ordering. Most works are anonymous, but a few canzonas by Frescobaldi are included.
Gloria patri (D-Ju MS 30) [ID: 414; W2001: 16; seen] In: D-Ju MS 30.
A cycle of 7 4-voice settings in tones 2-8. There is space for one more piece at the end: apparently the piece for tone 1 was left out byf mistake.
Intonationes super octo tonos [ID: 578; not seen] In: I-BZf Coll.Mus.ms. 11.
Cycle of 8 Magnificat tone settings for one voice and organ (bc). RISM suspects that other voice parts are missing.
Keyboard compositions (D-MT Mus.ms. 243) [ID: 610; not seen] In: D-MT Mus.ms. 243.
A cycle of 80 pieces in the 8 psalm tone keys, with one praeambulum, 8 verses and one arioso for each tone.
Keyboard pieces (CH-SAf MusSAf.Ms.1249) (i) [ID: 526; not seen] In: CH-SAf MusSAf.Ms.1249 .
Cycle through the 8 modes or tones, consisting of 83 'Intonations, praeambula, fugues, cantiones und andere Stücke für Orgel'. May be a 19th century compilation or (a copy of) an older source
Keyboard pieces (CH-SAf MusSAf.Ms.1249) (ii) [ID: 552; not seen] In: CH-SAf MusSAf.Ms.1249 .
Cycle through the 8 modes or tones, consisting of 86 'Intonations, praeambula, fugues, cantiones und andere Stücke für Orgel'. May be a 19th century compilation or (a copy of) an older source
Keyboard pieces (CH-SAf MusSAf.Ms.1249) (iii) [ID: 553; not seen] In: CH-SAf MusSAf.Ms.1249 .
Cycle through the 8 modes or tones, consisting of 35 'Intonations, praeambula, fugues, cantiones und andere Stücke für Orgel'. May be a 19th century compilation or (a copy of) an older source
Kurtze und leichte Praeambula, oder Versus [ID: 349; W2001: 17; seen] In: Kurtzer 1689; Praeambula c. 1695.
A cycle of 64 versets for organ, 8 for each of the 8 psalm tone keys.
Laudate Dominum [ID: 569; not seen] In: D-Mbs Mus.ms. Mk 862.
Anonymous cycle of 10 homophonic settings of the psalm tones, for 4 voices. There is no setting of tone 4, while there are 3 for tone 7 and 2 for tone 8.
Les modes naturels [ID: 501; seen] In: Traicté c. 1630.
Cycle of 12 2-part settings of psalms from the Geneva psalter, in Zarlino's numbering.
Les modes transposez [ID: 502; seen] In: Traicté c. 1630.
Cycle of 12 homophonic settings of psalms from the Geneva psalter, in Zarlino's numbering.
Magnificat (D-B Mus.ms. 30331) [ID: 567; not seen] In: Sacred c. 1575.
Cycle of 8 polyphonic Magnificats, with only the superius part surviving. Only magnificats 3-7 are labelled by tone. Provenance unclear (RISM claims that the source contains text in Italian)
Magnificat (D-Ju MS 34) [ID: 352; W2001: 18; seen] In: D-Ju MS 34.
A cycle of 8 Magnificats for 4 voices, even verses.
Magnificat (D-KFm Mus. Ms. 44) (i) [ID: 560; not seen] In: D-KFm Mus. Ms. 44.
Cycle of 8 Magnificats for plainchant with organ accompaniment.
Magnificat (D-KFm Mus. Ms. 44) (ii) [ID: 561; not seen] In: D-KFm Mus. Ms. 44.
Cycle of 8 Magnificats for plainchant with organ accompaniment.
Magnificat (D-Rp A.Kap. Hs 4-1282) [ID: 719; not seen] In: D-Rp A.Kap. Hs 4-1282.
Incomplete cycle of Magnificats for 4 voices, comprising modes 1, 4, 6, 7 and 8.
Magnificat (E-CALs Ms. 5) [ID: 686; not seen] In: E-CALs Ms. 5.
Cycle of 8 Magnificats in the 8 tones, voices unspecified. Possibly, the compositions were copied from an older source.
Magnificat (E-GRcr 04) [ID: 687; not seen] In: E-GRcr 04.
Cylce of 8 anonymous Magnificats in the 8 tones, for 4 voices.
Magnificat (E-LUc 1) [ID: 723; not seen] In: E-LUc 1.
Cycle of 8 Magnificats, setting the odd verses. Compositions may date from the late 16th century.
Magnificat (E-TZ 13) [ID: 690; not seen] In: E-TZ 13.
Cycle of 8 Magnificats (even verses) for 4 voices, in the 8 tones, probably dating from the 18th century.
Magnificat (E-V 03) [ID: 691; not seen] In: E-V 03.
Cycle of 8 Magnificats for 4 voices in the 8 tones, probably dating from the 18th century.
Magnificat (E-VAc 11) [ID: 692; not seen] In: E-VAc 11.
Cycle of 8 Magnificats for 4 voices in the 8 tones, probably dating from the 18th century.
Magnificat (MunTh 2) [ID: 309; W2001: 19; seen] In: MunTh 2.
A cycle of Magnificats for 4 voices (even verses); the ascription to Lassus is generally rejected.
Magnificat (V-CVbav MS Capp. Giulia XV, 36) [ID: 143; W2001: 20; not seen] In: V-CVbav MS Capp. Giulia XV, 36.
8 4-voice settings of the Magnificat (even verses).
Magnificat ad Vesperas per octo tonos [ID: 600; not seen] In: A-ST ChB 5.
Cycle of 8 Magnificats for voice and organ (basso continuo)
Magnificat for organ (i) [ID: 581; not seen] In: GB-Och Mus. 89.
A set of 8 magnificats for organ in the 8 tones.
Magnificat for organ (ii) [ID: 583; not seen] In: GB-Och Mus. 89.
A set of 8 magnificats for organ in the 8 tones.
Magnificat à 4 (I-Sd 2798/30) [ID: 620; not seen] In: I-Sd 2798/30.
Cycle of 8 Magnificats for 4 voices and basso continuo, dated between 1650 and 1749.
Magnificats (E-MO MS 769) [ID: 711; not seen] In: E-MO MS 769.
Cycle of 25 Magnificats by multiple composers. The core of the cycle consist of two interleaved cycles by Appenzeller and Clenens non Papa respectively. Manuscipt is dated around 1540
Magnificats à 4 (PL-Kk Kk.I.2) [ID: 525; not seen] In: PL-Kk Kk.I.2 .
Incomplete cycle of magnificats for 4 voices, probably compiled around the mid-16th century, with Magnificat by Jacotin and anonymous. Tones 1,3,4,5 and 8.
Manuductio ad Organum [ID: 554; not seen] In: I.S.C.R.Z. 1748.
Cycle of 32 organ verses through the 8 tones. NB half of the pieces seem to recur in cycle 621.
Misas (E-Zac C-3 M 13) [ID: 517; not seen] In: E-Zac C-3 M 13 .
Cycle of eight masses by Ambiela, Victoria and De la Torre. Ambiela's works may come from another ms. in Toledo that potentially has a complete cycle (see Grove)
Missae (E-SC LP3) [ID: 515; not seen] In: E-SC LP3.
Cycle of 8 4-voice masses through the 8 modes; none is ascribed to a composer. Six masses originate from Joseph de Torres y Martínez Bravo, Missae (1703, ID=629) but in a different order (1-4, 6, other, 5, other).
Octitonium von Praeludien, Fugen, Fugetten und Versetten [ID: 720; not seen] In: D-BEU Mus-Ms 172.
Cycle through the 8 tones composed of 70 pieces by Fischer, Froberger, Hieber, Hochreiter, Kerll, Muffat, Murschhauser, Scherer, Speth, and Anonymous.
Octo Magnificat per omnes 8 Tonos (D-FÜS 180) [ID: 556; not seen] In: D-FÜS 180.
Cycle of 8 Magnificats for 4 voices and organ. Several pieces can serve for two different tones.
Octo Toni in versibus brevibus [ID: 713; not seen] In: D-BEU Mus-Ms 145.
Omnia Laudate (D-As Tonk Schl 240) [ID: 618; not seen] In: D-As Tonk Schl 24.
Cycle of c.13 settings in the 8 tones; first is by Lassus, dated 1585.
Organ magnificats (D-Mbs Mus.ms. 1581) [ID: 612; not seen] In: D-Mbs Mus.ms. 1581.
Set of 9 organ magnificats by Hassler, Erbach and anonymous. There are 2 Magnificats in tone 7.
Phanthasiae [ID: 417; W2001: 21; seen] In: PL-GDap 300,R/Vv,123.
A collection of 17 fantasies for keyboard, 1-3 works for each of the 8 modes. There is a “Phanthasia aliqua” between modes 6 and 7 that closes on A.
Praeambula (B-Bc 16698) [ID: 579; not seen] In: B-Bc 16698.
Cycle of 104 preludes for keyboard in the 8 modes/tones (?)
Praeambula (D-MT Mus.ms. 244) [ID: 562; not seen] In: D-MT Mus.ms. 244 .
Incomplete cycle of organ pieces through the 8 tones. For each tone there is a praeambulum followed by 5 verses; cycle ends after the 4th verse in tone 7.
Praeambula (D-Mbs Mus.ms. 4112) [ID: 558; not seen] In: D-Mbs Mus.ms. 4112.
Cycle of 8 anonymous praeambula for keyboard in the 8 modes (?)
Praeambula and Toccatas (D-Bhm RH 1131) [ID: 617; not seen] In: D-Bhm RH 1131.
Cycle of 13 keyboard pieces in the 8 modes (with 1 non-modal insertion), of unknown provenance. One piece is by Frescobaldi, the rest is anonymous.
Praeambula and verses (I-BREd DKA M 2485) [ID: 621; not seen] In: I-BREd DKA M 2485.
Cycle for organ through the eight tones or modes consisting of a praeambulum and 2 verses for each mode/tone. Dating is uncertain, likely before 1800 Verses are the same as cycle 554.
Psalm tones (I-Nn VH 210) [ID: 418; W2001: 22; not seen] In: I-Nn VH 210.
A cycle of 8 short two-part settings of the psalm tones for singer and organ accompaniment, possibly by Cimello.
Psalm tones (SI-Nf Ms. mus. 93) [ID: 573; not seen] In: SI-Nf Ms. mus. 93.
Set of 9 psalm tone settings with various liturgical titles, for organ with text (RISM).
Psalmi (D-Rtt F.K.Mus. 76/I Abth.II) (i) [ID: 632; not seen] In: D-Rtt F.K.Mus. 76/I Abth.II.
Set of 8 falsibordoni in the 8 tones.
Psalmi (D-Rtt F.K.Mus. 76/I Abth.II) (ii) [ID: 633; not seen] In: D-Rtt F.K.Mus. 76/I Abth.II.
Set of 8 falsibordoni in the 8 tones.
Psalmi (D-Rtt F.K.Mus. 76/I Abth.II) (iii) [ID: 634; not seen] In: D-Rtt F.K.Mus. 76/I Abth.II.
Set of 9 falsibordoni in the 8 tones (2 settings for tone 8).
Psalmi aliquot ad octo musicae modos [ID: 682; not seen] In: D-Nla G2/ Fen IV 2 224.
20 falsibordoni for 4 voices in the 8 tones, very likely in cyclical order.
Psalmi à 4 (D-Rp A.Kap. Hs 4-1282) [ID: 717; not seen] In: D-Rp A.Kap. Hs 4-1282.
Incomplete cycle of psalm tones for 4 voices, comprising modes 1, 4, 6, 7 and 8.
Psalmi à 5 (D-Rp A.Kap. Hs 4-1282) [ID: 718; not seen] In: D-Rp A.Kap. Hs 4-1282.
Cycle of 8 psalm tones for 5 voices
Psalmi à 6 (D-Mbs, Mus.ms. Mk 1055) [ID: 572; not seen] In: D-Mbs, Mus.ms. Mk 1055 .
Cycle of short psalm tone settings for 6 voices, 3 for each tone.
Pseaumes [ID: 503; seen] In: Traicté c. 1630.
Cycle of 12 compositions for voice and keyboard, in Zarlino's numbering. The melodies are psalms from the Geneva psalter.
Ricercari (I-Rli Musica P 32) [ID: 528; not seen] In: I-Rli Musica P 32.
Incomplete cycle consisting of 5 ricercares in modes 1-4 (2 works for mode 4). Ascribed to Palestrina in the source but probably not by him.
Ricercari viii sopra li toni [ID: 12; W2001: 23; seen] In: D-MÜs SANT Hs 2097 (Nr. 1-7).
A cycle of 8 ricercars for 4 voices; the ascription to Palestrina is generally rejected.
Salmi a due (Regole c. 1675) [ID: 159; W2001: 24; seen] In: Regole c. 1675.
A cycle consisting of 3 pieces (psalm, verset, in exitu) for each of the 8 psalm tones.
Singulorum tonorum, et eorundem differentiarum... Psalmodia [ID: 671; not seen] In: Quartus 1580-2.
Proabably a cycle of polyphonic psalm tone settings
Toccatae diversae per octo Tonos [ID: 716; not seen] In: D-BEU Mus-Ms 145.
Verses (Felanitx 173) [ID: 694; seen] In: Felanitx 173bis; Felanitx 173.
Set of around 500 verses in the 8 tones. Most verses are by Cabanilles.
Versets (I-Mdemicheli MSS.Mus 11) [ID: 605; not seen] In: I-Mdemicheli MSS.Mus 11.
Set of 34 versets in the psalm tone keys (tone 7 missing) for organ.
Versetten in den Kirchentonarten [ID: 564; not seen] In: D-MT, Mus.ms. 276.
Anonymous cycle of organ verses published in Augsburg 1731, by Mertz und Mayer.
Versetti per tutti gl'octo tuoni (D-MÜs SANT Hs 4233) [ID: 559; not seen] In: Versetti c. 1725.
Cycle of 89 anonymous verses in 7 of the 8 tones: verses in tone 2 are missing.
Versi (A-ST Mus.ms. 1650) (i) [ID: 574; not seen] In: A-ST Mus.ms. 1650.
Cycle of 51 organ verses in the 8 tones, including some pieces inserted out of modal order.
Versi (A-ST Mus.ms. 1650) (ii) [ID: 575; not seen] In: A-ST Mus.ms. 1650.
Cycle of 28 organ verses in the 8 tones; the verse in tone 7 appears in the tone 6 group.
Versi (A-ST Mus.ms. 1650) (iii) [ID: 576; not seen] In: A-ST Mus.ms. 1650.
Cycle of 69 organ verses in tones 1-7.
Versi (I-BZf) [ID: 577; not seen] In: I-BZf no signature.
Cycle of 53 verses for organ in tones 2-8; part of the Ms containing tone 1 and part of tone 2 is lost.
Versillos (BarOC) [ID: 8; W2001: 25; seen] In: Untraced.
A cycle of 59 17th-century organ versets in the 8 psalm-tone keys, 8 in tones 1-7 and 3 in tone 8. Some tones are transposed down a fourth (tones 5 and 7, both ending on E) or a second (tones 3 and 8, ending on G and F).
Ricercari [ID: 13; W2001: 26; seen] In: Antegnati 1608.
12 ricercars in 12 modes, printed in keyboard intavolatura.
Magnificat [ID: 710; not seen] In: Untraced.
Cycle of 11 Magnificats for (mostly) 4 voices. it survives interleaved with Magnificats by Clemens and others, making it difficult to judge which pieces precisely belong together. Composed no later than c. 1540 (estimated date of the manuscript)
Sonate opus 4 [ID: 493; not seen] In: Arresti 1665.
Falsi bordoni per cantar salmi [ID: 132; W2001: 27; seen] In: Asola 1575.
32 falsibordoni for 4 voices, 4 for each of the 8 psalm-tones. Contains bass parts only: melody part is implicit
Messe a quattro voci pari [ID: 14; W2001: 28; not seen] In: Asola 1574; Asola 1580.
8 masses “for equal voices” in 8 modes, printed in 2 volumes.
Missae octonis compositae tonis [ID: 161; W2001: 29; not seen] In: Asola 1581; Asola 1586.
8 masses in 8 modes, printed in 2 volumes.
Psalmodia ad vespertinas omnium solennitatum horas octonis vocibus infractis decantanda [ID: 614; not seen] In: Asola 1582.
Cycle of 8-voice vesper psalms in the 8 psalm tones, followed by several other psalms that may or may not form an irregular cycle with the first 9 compositions.
Cinquiesme livre de chansons nouvelles (i) [ID: 419; W2001: 30; not seen] In: Cinquiesme livre 1538.
A cycle of 28 chansons by different composers through the four modal pairs. Cycle 31 is a later, slightly altered version of this cycle.
Cinquiesme livre de chansons nouvelles (ii) [ID: 420; W2001: 31; not seen] In: Cinquiesme livre 1540.
A cycle of 28 chansons by different composers through the four modal pairs. This cycle is an altered version of cycle 30. Six works were removed, while three were added.
Dixhuytiesme livre de chansons nouvelles [ID: 421; W2001: 32; not seen] In: Dixiesme livre 1541.
A rather disordered cycle of 28 chansons by different composers through the four modal pairs.
Dixiesme livre de chansons nouvelles [ID: 422; W2001: 33; not seen] In: Dixiesme livre 1541.
A cycle of 28 chansons by different composers through the four modal pairs.
Dixseptiesme livre de chansons nouvelles [ID: 423; W2001: 34; not seen] In: Dixseptiesme livre 1545.
On the basis of Brown’s description, possibly a cycle of 19 chansons by different composers through the four modal pairs.
Douziesme livre de chansons nouvelles [ID: 424; W2001: 35; not seen] In: Douziesme livre 1543.
A cycle of 30 chansons by different composers through the four modal pairs.
Livre premier de chansons [ID: 425; W2001: 36; not seen] In: Livre premier 1536.
A cycle of 29 chansons by different composers through the four modal pairs. One work in the 5th-6th mode group ends on A, as those in the 3th-4th mode group.
Magnificat [ID: 211; W2001: 37; seen] In: Liber 1534-8; Liber 1534-7.
24 Magnificats in the 8 tones, mostly for 4 voices, by Le Heurteur, Manchicourt, Mouton and several other composers. The number of works for each tone varies from 1 (tone 6, 7) to 6 (tone 1). Le Brun’s Magnificat (tone 1) ends with an 8-voice Sicut erat, in which all voices are based on a different tone.
Magnificat sur les huit tons [ID: 11; W2001: 38; seen] In: Magnificat 1531.
8 organ Magnificats, each consisting of 2 to 5 verses.
Neufiesme livre de chansons nouvelles (ii) [ID: 427; W2001: 40; not seen] In: Neufiesme livre 1542.
A cycle of 28 chansons by different composers through the four modal pairs. This cycle is an altered version of cycle 39: 4 works were removed, 7 were added. Brown’s description is based on this version.
Neufviesme livre de chansons nouvelles (i) [ID: 426; W2001: 39; not seen] In: Neufviesme livre 1540.
A cycle of 27 chansons by different composers through the four modal pairs. Cycle 40 is a later, altered version of this cycle, on which Brown’s description is based.
Onziesme livre de chansons nouvelles [ID: 428; W2001: 41; not seen] In: Onziesme livre 1542.
A cycle of 28 chansons by different composers through the four modal pairs, first published in 1541. One work among those in modes 3 and 4 ends anomalously on d’ (no signature).
Premier livre de chansons musicales [ID: 429; W2001: 42; not seen] In: Premier livre 1536.
A cycle of 31 chansons through the four modal pairs, consisting of works by Sermisy and others.
Premier livre de chansons nouvelles [ID: 430; W2001: 43; not seen] In: Premier livre 1538.
A cycle of 25 chansons by different composers through the four modal pairs. One work ending on A is placed between the 5th-6th and the 7th-8th mode group.
Quart livre de chansons nouvelles [ID: 431; W2001: 44; not seen] In: Quart livre 1538.
A cycle of 27 chansons by different composers through the four modal pairs.
Quatorsiesme livre de chansons nouvelles [ID: 432; W2001: 45; not seen] In: Quatorsiesme livre 1543.
A cycle of 29 chansons by different composers through the four modal pairs.
Quinziesme livre de chansons nouvelles [ID: 433; W2001: 46; not seen] In: Quinziesme livre 1544.
A cycle of 30 chansons by different composers through the four modal pairs. One work among those in modes 3 and 4 ends anomalously on d’ (flat signature).
Second livre contenant trois gaillardes, trois pavanes, vingt-trois branles [ID: 98; W2001: 47; not seen] In: Second 1547.
50 anonymous dances for ensemble a 4, forming an 8-mode cycle according to the title-page.
Second livre de chansons musicales (i) [ID: 434; W2001: 48; not seen] In: Second livre 1536a.
A cycle of 31 chansons by different composers through the four modal pairs. Cycle 49 is a later, slightly altered version of this cycle.
Second livre de chansons musicales (ii) [ID: 435; W2001: 49; not seen] In: Second livre 1537.
A cycle of 31 chansons by different composers through the four modal pairs. This cycle is a slightly altered version of cycle 48: two works are lacking, while one is added.
Second livre de chansons nouvelles (i) [ID: 436; W2001: 50; not seen] In: Second livre 1536b.
A cycle of 25 chansons by different composers through the four modal pairs.
Second livre de chansons nouvelles (ii) [ID: 437; W2001: 51; not seen] In: Second livre 1538.
A cycle of 27 chansons by different composers through the four modal pairs. Cycle 52 is a later, slightly altered version of this cycle.
Second livre de chansons nouvelles (iii) [ID: 438; W2001: 52; not seen] In: Second livre 1540.
A cycle of 27 chansons by different composers through the four modal pairs. This cycle is a slightly altered version of cycle 51: two works are replaced by others.
Septiesme livre de chansons nouvelles (i) [ID: 439; W2001: 53; not seen] In: Septiesme livre 1539.
A cycle of 29 chansons by different composers through the four modal pairs. Cycle 54 is a later, altered version of this cycle.
Septiesme livre de chansons nouvelles (ii) [ID: 440; W2001: 54; not seen] In: Septiesme livre 1540.
A cycle of 29 chansons by different composers through the four modal pairs. This cycle is an altered version of cycle 53: 7 works were removed, 8 were added. It is unclear how these changes have affected the modal ordering.
Seysiesme livre de chansons nouvelles (i) [ID: 441; W2001: 55; not seen] In: Seysiesme livre 1545.
A rather disordered cycle of 29 chansons by different composers through the four modal pairs. Cycle 56 is a later version of this cycle, in which one work has been replaced.
Seysiesme livre de chansons nouvelles (ii) [ID: 442; W2001: 56; not seen] In: Sexsiesme livre 1545.
A rather disordered cycle of 29 chansons by different composers through the four modal pairs. Except for one replacement, this cycle is identical to cycle 55.
Sixiesme livre de chansons nouvelles [ID: 443; W2001: 57; not seen] In: Sixiesme livre 1539.
A cycle of 27 chansons by different composers through the four modal pairs.
Tiers livre de chansons musicales [ID: 444; W2001: 58; not seen] In: Tiers livre 1536.
A cycle of 21 chansons by Janequin (13), Passereau (7) and one anonymous master through the four modal pairs.
Tiers livre de chansons nouvelles [ID: 445; W2001: 59; not seen] In: Tiers livre 1538.
A cycle of 28 chansons by different composers through the four modal pairs.
Trente cincqiesme livre de chansons nouvelles [ID: 446; W2001: 60; not seen] In: Trente cincqiesme 1550.
An irregular cycle of 24 chansons by different composers through the four modal pairs.
Trente deuxiesme livre de chansons nouvelles [ID: 447; W2001: 61; not seen] In: Trente deuxiesme livre 1549.
A cycle of 24 chansons by different composers through the four modal pairs.
Trente quatriesme livre de chansons nouvelles [ID: 448; W2001: 62; not seen] In: Trente quatriesme livre 1549.
An irregular cycle of 20 chansons by different composers through the four modal pairs.
Trente troysiesme livre de chansons nouvelles [ID: 449; W2001: 63; not seen] In: Trente troysiesme livre 1549.
An irregular cycle of 20 chansons by different composers through the four modal pairs.
Trentiesme livre de chansons nouvelles [ID: 450; W2001: 64; not seen] In: Trentiesme livre 1549.
A disordered cycle of 28 chansons by Janequin and other composers through the four modal pairs; strictly speaking, the cycle seems to end with no. 23.
Treziesme livre de chansons nouvelles [ID: 451; W2001: 65; not seen] In: Treziesme livre 1543.
An incomplete cycle of 19 chansons by Janequin and other composers through the modal pairs, lacking works for the 3th-4th mode group.
Vingt & ungiesme livre de chansons nouvelles [ID: 453; W2001: 67; not seen] In: Vingt & ungiesme livre 1547.
A rather disordered cycle of 26 chansons by different composers through the four modal pairs.
Vingt deuxiesme livre de chansons nouvelles [ID: 452; W2001: 66; not seen] In: Vingt deuxiesme livre 1547.
A slightly disordered cycle of 23 chansons by different composers through the four modal pairs.
Vingtcinquiesme livre de chansons nouvelles [ID: 454; W2001: 68; not seen] In: Vingtcinquiesme livre 1547.
A cycle of 28 chansons by different composers through the four modal pairs.
Vingthuitiesme livre de chansons nouvelles [ID: 455; W2001: 69; not seen] In: Vingthuitiesme 1549.
A slightly disordered cycle of 30 chansons by different composers through the four modal pairs.
Vingtiesme livre de chansons nouvelles [ID: 456; W2001: 70; not seen] In: Vingtiesme livre 1546.
A cycle of 21 chansons by different composers through the four modal pairs.
Vingtneufiesme livre de chansons nouvelles [ID: 457; W2001: 71; not seen] In: Vingtneufiesme 1549.
An incomplete cycle of 29 chansons by different composers through the four modal pairs: works for the 3rd-4th mode group are lacking.
Vingtquatresiesme livre de chansons nouvelles [ID: 458; W2001: 72; not seen] In: Vingtquatresiesme livre 1547.
A cycle of 26 chansons by different composers through the four modal pairs.
Vingtroisiesme livre de chansons nouvelles [ID: 459; W2001: 73; not seen] In: Vingtroisiesme livre 1547.
A cycle of 17 chansons by Janequin and other composers through the four modal pairs. The 7th-8th mode group is represented by one work ending on d’ (no signature).
Vingtseptiesme livre de chansons nouvelles [ID: 460; W2001: 74; not seen] In: Vingtseptiesme 1548.
A slightly disordered cycle of 27 chansons by different composers through the four modal pairs.
Vingtsixiesme livre de chansons nouvelles [ID: 461; W2001: 75; not seen] In: Vingtsixiesme livre 1548.
An incomplete cycle of 13 chansons by different composers through the four modal pairs: works for the 3rd-4th mode group are lacking. According to Brown, the second part of this collection (nos. 14-27) is possibly another cycle, but his description leaves considerable doubt.
Canticum Virginis Deiparae [ID: 225; W2001: 76; not seen] In: Aux-Cousteaux 1655.
8 Magnificats, probably for 3 voices, in 8 tones.
Les quatrains de Mr. Mathieu selon l’ordre des douze modes [ID: 224; W2001: 77; not seen] In: Aux-Cousteaux 1643; Aux-Cousteaux 1652.
1 or 2 cycles of 3-voice settings of Mathieu’s poems through the 12 modes.
Octo cantica Divae Mariae virginis [ID: 223; W2001: 78; not seen] In: Aux-Cousteaux 1641.
8 Magnificats for 4 voices in 8 tones (called “modes” on the title-page).
Fugae [ID: 252; W2001: 79; seen] In: Schneegass 1591.
A set of 12 canons for 2 voices, through the 12 modes in the natural system. The texts describe the modal affects. Incipits of transpositions are given for most pieces.
Keyboard compositions [ID: 609; not seen] In: D-KA Don Mus.Ms. 1484.
Cycle of c. 66 anonymous keyboard pieces (preludes, fugues, toccatas, versets and similar pieces) collected by Maria Aymiller in 1739.
Octotonium [ID: 547; not seen] In: Back 1790.
Cycle of psalm settings for 4 voices, lacking mode 4. The set is followed in the source by some more psalm settings in tones 6-8.
Dui degli dodici modi [ID: 105; W2001: 80; seen] In: Banchieri 1614.
12 duets in 12 modes; incipits are given for transpositions. Comments indicate the most suitable scoring for each mode and transposition (for example: high or low instruments, ordinary or children’s voices).
Dui degli otto toni ecclesiastici [ID: 106; W2001: 81; seen] In: Banchieri 1614.
8 duets in 8 psalm-tone keys, illustrating the regular cadences. Authentic pieces begin with an ascending interval, plagal pieces with a descending one.
Falsi bordoni [ID: 16; W2001: 82; seen] In: Banchieri 1605.
8 examples in 8 psalm tones. Only the basses are given: melodies must be supplied by the performer.
Magnificat [ID: 17; W2001: 83; seen] In: Banchieri 1605.
8 Magnificats for soprano and bass or basso continuo in 8 psalm tones, each consisting of two verses: “Anima mea” and “Gloria patri”.
Salmi [ID: 15; W2001: 84; seen] In: Banchieri 1605.
8 psalms in 8 tones. The first half of each verse is the unaccompanied psalm-tone formula. For the second half a bass is given: the performer must adapt the second half of the psalm-tone to it.
Sonate [ID: 104; W2001: 85; seen] In: Banchieri 1605.
8 4-part sonatas in the eight modes; mode 7 transposed to final B.
Missae octo breves [ID: 641; not seen] In: Baziavelli 1668.
Cycle of 8 5-voice masses in the eight modes
Falsi bordoni sopra li otto toni [ID: 162; W2001: 86; not seen] In: Belli 1605.
8 falsi bordoni, one in each tone. Each piece consists of a 4-voice setting of the psalm-tone for choir 1 and one for choir 2, and a doxology in motet style for both choirs.
Essempii distinti delli 12 tuoni [ID: 107; W2001: 87; seen] In: Berardi 1689.
14 short four-part examples in 12 modes. There are 2 examples for mode 1 and 3. The second example for mode 1 and the one for mode 2 are taken from Scacchi 1643.
Psalmi vespertini una cum missa [ID: 708; not seen] In: Berardi 1675.
According to Shafner, a cycle through all 12 modes except 11, consisting of 9 psalms, 1 magnificat and 1 mass
Cantus [ID: 87; W2001: 88; seen] In: Bermudo 1555.
4 contrapuntal organ works for 4 voices, in modes 1 (with traces (“resabios”) of mode 4), 4, 6 (pure) and 8.
Magnificat à 4 [ID: 537; not seen] In: Bernabei 1690.
Cycle of 8 Magnificats for 4 voices, in the 8 tones.
Nunc dimittis à 4 [ID: 538; not seen] In: D-Mbs Mus.ms. 2752.
Cycle of 8 Nunc Dimittis in the eight modes
Magnificat à 4 [ID: 534; not seen] In: A-Sd, A 1120.
Magnificat à 5 [ID: 535; not seen] In: A-Sd, A 1120.
Magnificat à 5 [ID: 647; not seen] In: Berti 1593.
Cycle of 8 5-voice Magnificats through the 8 tones.
Preludii [ID: 712; not seen] In: Biechteler 1723.
12 preludes for the lute, forming a modal cycle through the eight tones (tone 6 and 7 displaced) with 4 pieces (nos 7, 8, 11, 12) inserted that do not seem to belong to the cycle
Magnificat [ID: 133; W2001: 89; seen] In: V-CVbav MS S. Pietro B.80.
A Cycle of Magnificats for 3 voices, copied into the present source from manuscript written in Rome, 1458-1463. It consists of Magnificats by Binchois, Dufay, and Dunstable, and anonymous composers. The nucleus seems to be a group of 7 works in 8 psalm tones by Binchois and Dufay; one composition serves for both mode 3 and 4. There are 7 additional works in tones 1, 2 (by Dunstable), 4, and 8; 3 of these appear outside the order of the tones. A Magnificat in tone 8 (by Busnois?) belongs to a later layer of the manuscript. 2 hymn settings interrupt the cycle.
Magnificat [ID: 648; not seen] In: Bodenschatz 1599.
A cycle of 12 4-voice Magnificats in the 12 modes.
Falsi bordoni à 3 [ID: 163; W2001: 90; not seen] In: Bona 1594.
8 settings for 3 voices of the psalm-tones.
Falsi bordoni à 4 [ID: 649; not seen] In: Bona 1600.
Cycle of 4-voice falsibordoni in 8 tones.
Magnificat à 4 [ID: 373; W2001: 91; not seen] In: Bonizzoni 1574.
A cycle of 8 Magnificats for 4 voices.
Esempi in Duo (i) [ID: 164; W2001: 92; seen] In: Bononcini 1673.
12 duets in the 12 modes, most of them demonstrating the modal interval species quite clearly at the beginning. Melodies in the authentic modes begin with an ascending interval, those in the plagal modes with a descending one. 7 of the duets reappear in cycle 93.
Esempi in Duo (ii) [ID: 358; W2001: 93; seen] In: Bononcini 1673.
7 duets in 8 psalm-tones. The same example is used for tones 3 and 4. The duets are all from cycle 92, but some appear in a different place. Mode 10 is used for tones 3 and 4, mode 11 for tone 5, mode 12 for tone 6, and mode 9 for tone 7.
Madrigali a cinque voci sopra i dodici tuoni [ID: 500; seen] In: Bononcini 1678.
Cycle of 12 5-voice madrigals in the 12 modes, followed by one in all modes. All works carry a modal label
Magnificat secundum octo modos [ID: 490; not seen] In: Bournonville 1614.
Cycle of magnificats for four voices through the 8 psalm-tones
Octo cantica virginis matris quae vulgo Magnificat dicuntur [ID: 489; seen] In: Bournonville 1625.
Magnificat cycle in 4 (5?) voices, 3 of which survive.
Falsi bordoni [ID: 135; W2001: 94; not seen] In: Boyleau 1566.
9 pieces for 4 voices in all tones.
Magnificat [ID: 134; W2001: 95; not seen] In: Boyleau 1566.
Magnificats for 4-6 voices in all tones.
Premier livre d’orgue [ID: 18; W2001: 96; seen] In: Boyvin 1690.
8 suites in the 8 modes “à l’usage ordinaire des églises”.
Second livre d’orgue [ID: 19; W2001: 97; seen] In: Boyvin 1700.
8 suites in the 8 modes.
Fugen [ID: 20; W2001: 98; seen] In: Grobe c. 1675.
8 fugues in the 8 modes.
Magnificat [ID: 693; not seen] In: Bruceña 1620.
Cycle of 8 Magnificats for a varying numbers of voices, in the 8 tones.
Magnificat [ID: 353; W2001: 99; seen] In: V-CVbav CS 15.
Contains 14 Magnificats by Agricola (authorship uncertain), Brumel, Compère, Dufay, Martini, Weerbecke and anonymous master(s).
Magnificat [ID: 377; W2001: 100; not seen] In: Burgdorff 1581.
A cycle of 8 5-voice Magnificats.
Esempi [ID: 731; seen] In: I-Vc Torrefranca Ms.A. 147.
Cycle of 12 2-voice very short fugue examples, ending with a cadence on the final.
Tientos ii (Felanitx 173) [ID: 696; not seen] In: Felanitx 173.
Cycle of 8 tientos for organ in the 8 tones
Tientos i (Felanitx 173) [ID: 695; not seen] In: Felanitx 173.
Cycle of 8 tientos by Cabanilles (7 works) and Froberger (1 work) in the 8 modes
Favordones de todos los ocho tonos [ID: 22; W2001: 101; seen] In: Cabezon 1578.
32 falsibordoni for organ. For each of the 8 tones there are 4 pieces, 1 in unadorned counterpoint and 3 with “glosas” in different voices.
Obras de a quatro [ID: 21; W2001: 102; seen] In: Cabezon 1578.
32 psalm-tone settings for organ. For each of the 8 tones there are 4 pieces, each with the psalm-tone in a different voice.
Quatro Kiries de cada tono [ID: 97; W2001: 103; seen] In: Cabezon 1578.
An incomplete cycle of 28 Kyries for organ, 4 for each of modes 1-7. Works in mode 8 are missing, and those in mode 5 appear at the end of the cycle.
Versos de magnificat sobre todos los ochos tonos [ID: 23; W2001: 104; seen] In: Cabezon 1578.
8 Magnificats for organ in the 8 tones, each consisting of 6-7 verses.
Ricercari di tutti li tuoni [ID: 111; W2001: 105; not seen] In: Canale 1601.
12 ricercars in the 12 modes.
Li ariosi Magnificat [ID: 385; W2001: 106; not seen] In: Cangiasi 1590.
A cycle of 8 through-composed Magnificats for 8 voices.
Octo Magnificat in singulis tonis [ID: 401; W2001: 107; not seen] In: Capece 1616.
A cycle of 8 Magnificats for 4 voices.
Magnificat [ID: 141; W2001: 108; seen] In: V-CVbav MS Capp. Giulia XII,5; V-CVbav MS Capp. Sist. 18; Carpentras c. 1537.
8 Magnificats in 8 psalm tones, probably composed in Rome between 1514 and 1526.
Magnificat (i) [ID: 285; W2001: 109; not seen] In: Cavaccio 1581.
8 Magnificats for 4 voices in the 8 tones.
Magnificat (ii) [ID: 284; W2001: 110; not seen] In: D-As Tonk Schl 20; Cavaccio 1582.
A collection of 4-voice Magnificats in all tones.
Octo Gloria patri [ID: 289; W2001: 111; not seen] In: Cavaccio 1585.
8 compositions in the 8 tones, probably for 8-voice double choir.
Falsi bordoni a 4 [ID: 165; W2001: 112; seen] In: Cavalliere 1634.
An incomplete cycle of falsi bordoni for 4 voices in the 8 tones, lacking tones 6 and 7.
Psalmodia modulata per tonis [ID: 296; W2001: 113; seen] In: Untraced.
An incomplete cycle of 8 falsi bordoni, lacking an example for tone 5, but with 2 examples for tone 8. Composed between 1550 and 1591 (death of the composer).
Messe brevi, facili et ariose [ID: 705; not seen] In: Cecchino 1617.
Cycle of 8 4-voice masses in the 8 modes, published in 1617.
Missae [ID: 697; not seen] In: E-MO 0892.
Incomplete cycle of 6 masses for 4-5 voices, in modes 1-6. Only the title page and index of the original source survive, but the masses have been identified in other sources. Dated in or before 1676 (death of the composer)
Exemplos en los motetes [ID: 151; W2001: 114; seen] In: Cerone 1613.
12 duets in the 12 modes; 7 taken over from cycle 350.
Exemplos en los psalmos [ID: 152; W2001: 115; seen] In: Cerone 1613.
12 duets in the 12 psalm-tone keys; 8 taken over from cycle 351.
Antifone [ID: 166; W2001: 116; seen] In: Cerreto 1631.
8 examples of counterpoint in the 8 modes, each over an antiphon melody in semibreves.
Otto salmodie in musica figurata [ID: 82; W2001: 117; seen] In: Cerreto 1601.
9 four-part settings of the 8 psalm tones; 2 in mode 7, ending on A and D.
Pièces d’orgues sur les huit tons [ID: 512; not seen] In: Chaumont 1695.
Cycle of 8 suites for organ through the 8 psalm tone keys.
Canticum Beatae Mariae Virginis [ID: 302; W2001: 120; not seen] In: Canticum 1553.
8 Magnificats in 8 tones, composed by Colin, Goudimel, Guillaud, and Martin; one work is anonymous.
Canzoni franzese [ID: 110; W2001: 121; seen] In: Cifra 1619b.
8 canzoni francesi for keyboard or 4 instruments in the 8 modes.
Ricercari (i) [ID: 108; W2001: 122; seen] In: Liberati 1685; Cifra 1619a.
12 ricercars for keyboard or 4 instruments in the first 10 modes; modes 11 and 12 are missing. Cifra apparently follows the model of Frescobaldi’s ricercars (cycle 174).
Ricercari (ii) [ID: 109; W2001: 123; seen] In: Liberati 1685; Cifra 1619b.
8 ricercars for keyboard or 4 instruments in the 8 modes.
Examples [ID: 704; not seen] In: I-Nn VH 210.
Set of 2-voice counterpoint examples in the 8 modes.
Magnificat (i) [ID: 464; W2001: 124; seen] In: NL-L MS 1439.
A cycle of 8 Magnificats for 4-5 voices, even verses.
Magnificat (ii) [ID: 465; W2001: 125; seen] In: B-Bc MS 27087.
A cycle of 8 Magnificats for 4-6 voices, even verses. The Magnificat in tone 8 is almost identical to that from the previous cycle; only the last section for 6 voices is different.
Magnificat negli otto toni a 8 voci [ID: 194; W2001: 126; not seen] In: TrevBC 26.
A cycle of Magnificats in the 8 tones, composed before 1602 (death of the composer).
Tonorum psalmodiae [ID: 359; W2001: 127; seen] In: Cochlaeus 1511.
An incomplete cycle, consisting of 4-part note-against-note settings of psalm-tones 1-5.
Exempla [ID: 250; W2001: 128; seen] In: Coclico 1552.
A series of examples in the 8 modes. The first example for each mode is a monophonic psalm-tone; the second a 2-part canon in semibreves, with a third voice in free counterpoint. In modes 1-4 and 6 there are 1 or 2 more canons for 4-5 voices. There is also an example of “pure” mode 5 in free counterpoint for 5 voices.
Magnificat [ID: 142; W2001: 129; not seen] In: V-CVbav MS Capp. Giulia XV, 36; Colin 1541.
8 4-part Magnificats in the 8 tones, setting the even verses.
Falsibordoni [ID: 405; W2001: 130; not seen] In: Colombani 1585.
A cycle of falsibordoni for 5 voices, 6 for each tone.
Magnificat [ID: 379; W2001: 131; not seen] In: Colombani 1583.
A cycle of 8 Magnificats for 9 voices, through-composed.
Magnificat (D-Ju MS 20) [ID: 351; W2001: 132; seen] In: D-Ju MS 20.
A cycle of 19 Magnificats by Compère, Divitis, Févin, Gascongne, La Rue, Mouton, Pipelare, Prioris and Remiger.
Salmi passaggiati sopra tutti i toni (basso) [ID: 332; W2001: 133; seen] In: Conforti 1603.
8 psalms for solo voice and basso continuo in 8 modes, for alternatim performance. The ornamented psalm-tones appear in the bass voice.
Salmi passaggiati sopra tutti i toni (soprano) [ID: 167; W2001: 134; seen] In: Conforti 1601.
8 psalms for solo voice and basso continuo in 8 modes, for alternatim performance. The ornamented psalm-tones appear in the soprano voice. This collection was reprinted in 1607 in non-modal order.
Salmi passaggiati sopra tutti i toni (tenore) [ID: 168; W2001: 135; seen] In: Conforti 1602.
8 psalms for solo voice and basso continuo in 8 modes, for alternatim performance. The ornamented psalm-tones appear in the tenor voice.
Magnificat [ID: 703; not seen] In: Contino 1571.
Cycle of 16 5-voice alternatim Magnificats, two for each tone, one setting the odd, the other setting the even verses..
Cantiones musicae [ID: 466; W2001: 136; not seen] In: Cornet 1581.
A cycle of motets for 5-8 voices through the 8 modes
Ricercari [ID: 467; W2001: 137; seen] In: Corradini 1615.
A cycle of 12 four-part ricercars in 12 modes, printed in score.
Tientos [ID: 24; W2001: 138; seen] In: Correa de Arauxo 1626.
12 tientos in 12 modes. For each work there is a short explanation of its species and transposition. Mode 9, for example, is transposed to F#. Mode 3 is commixed with 10, and ends on A. This final could also be a psalm-tone ending, as is certainly the case in mode 7, which also ends on a (solmised as re).
Pieces d'orgue [ID: 542; not seen] In: Corrette 1737; Corrette 1750.
Cycle of organ suites through the 8 tones, printed in 2 volumes. Those from the first volumes are Magnificats, with one suite for both tones 3 and 4. After this an extra Magnificat is inserted 'en A mi la 3#'. The 4 suites in the second volume aren't called Magnificat.
Magnificat omnium tonorum [ID: 396; W2001: 139; not seen] In: Croce 1605.
A set of 6-voice Magnificats through the 8 tones.
Sonnetti penitenziali [ID: 706; not seen] In: Croce 1596; Croce 1599; Croce 1608.
Cycle of 7 pieces for 6 voices, in the 7 tones ending on psalm-tone finals. The same pieces were published with Latin text as pentitential psalms in 1599 and in with English text as sacred madrigals in 1608.
Exempla [ID: 262; W2001: 140; seen] In: Crüger 1654; Crüger 1630.
20 short pieces for 4 voices in the 12 modes, using Zarlino’s new ordering and pseudo-classical names. The extra examples illustrate transposed modes; for the Lydian and Aeolian modes only the transposed incipit of the first example is given. The explanatory text states that the examples show the cadences of the modes, and which clefs must be used. Crüger 1654 prints only one example for most modes, and uses the traditional ordering, beginning on Dorian.
Falsibordoni [ID: 651; not seen] In: Crüger 1645.
Set of 9 falsibordoni, very likely forming a cycle.
Magnificat [ID: 650; not seen] In: Crüger 1645.
Seven Latin Magnificats for 4-5 voices, probably forming an incomplete modal cycle.
Meine Seel' erhebet den Herren [ID: 524; not seen] In: D-WRha Udestedt 1 a-b; D-Dl Mus.1-E-750; Crüger 1626.
Cycle of 8 German Magnificats for eight voices.
Keyboard pieces [ID: 548; not seen] In: Keyboard pieces c. 1850.
Collection of 176 'verschiedenen Arten Praeambulen, Praeludien, Cadenzen, Versetten | Fugetten Andanten und Rondos | in den 8 Kirchentönen', for organ.
Kurze Versetten nach den 8 Kirchen-Tonarten [ID: 672; not seen] In: I-BREk Mus.ms. 145.
Cycle of 48 verses for organ, in the eight psalm tone keys
Magnificat octo tonum [ID: 665; not seen] In: Dal Pozzo 1600.
Probably a cycle of 8 Magnificats in the 8 tones, for 6 voices
Fantasias [ID: 94; W2001: 141; seen] In: Daza 1576.
A cycle of 8 fantasias for vihuela in the 8 modes.
Dodekatonon musicum [ID: 288; W2001: 142; not seen] In: Dedekind 1588; Thüring 1624.
11 tricinia by Dedekind, 12 by Goetting; 13 works are anonymous. They may be ordered in more than one cycle.
Ricercate [ID: 496; seen] In: Degli Antonii 1690.
Cycle of 8 sonatas through the 8 psalm tone keys. The last 2 compositions in the source do not seem to belong to the cycle.
Versetti da organo per tutti li tuoni [ID: 652; not seen] In: Degli Antonii 1696.
Large cycle of organ verses through the 8 psalm tone keys
Versetti per tutti li tuoni [ID: 498; seen] In: Degli Antonii 1687.
A cycle of 120 versets for organ in the 8 psalm tone keys.
Sonate a violino solo [ID: 495; seen] In: Degli Antonii 1676.
Cycle of 8 sonatas through the 8 psalm tone keys. The last 4 compositions in the source do not seem to belong to the cycle.
Sonate e versetti per tutti li tuoni [ID: 653; not seen] In: Degli Antonii.
Cycle of organ verses through the natural and transposed tones.
Saggi per organo [ID: 504; seen] In: Della Ciaia 1727.
Corona harmonica [ID: 275; W2001: 143; seen] In: Demantius 1610.
A collection of gospel motets, composed, according to the preface in the untransposed and transposed 12 modes. The first 17 motets seem to form a cycle; the remaining motets in the source show no clear modal order
Magnificat et Benedicamus à 4 [ID: 412; W2001: 144; seen] In: Demantius 1602.
A set of eight Magnificats, each followed by a Benedicamus Domino, in the eight modes
Magnificat et Benedicamus à 5 [ID: 487; not seen] In: Demantius 1602.
Cycle of 8 Magnificats, each followed by a Benedicamus Domino, in the eight modes. Several works are based on a named model
Magnificat et Benedicamus à 6 [ID: 413; W2001: 145; seen] In: Demantius 1602.
A set of Magnificats, each followed by a Benedicamus Domino, in the 12 modes. Several of these are based on a named model.
Fughe [ID: 734; seen] In: F-Pn L-8387.
Cycle of 17 fugues for 2 voices though the 12 modes (Glarean's numbering). There are 2 fugues in modes 1, 3 and 5, and 3 iin mode 2.
Magnificat octo tonorum [ID: 276; W2001: 146; seen] In: Dietrich 1535; D-LEu Thomaskirche Ms. 49/50.
A cycle of 8 Magnificats for 4 voices, published in 1535 but likely composed around 1517.
Duo [ID: 1; W2001: 147; seen] In: Zacconi 1622; Diruta 1609; Herbst 1643; Tevo 1706.
12 short duets in the 12 modes, partly after Zarlino’s cycle 473. Each duet is printed in several transpositions, with 1-3 flats or sharps in the signature. Comments specify the affects of the modes.
Inni [ID: 25; W2001: 148; seen] In: Diruta 1609.
An incomplete cycle of 21 hymn settings for organ. Diruta uses the 12-mode system in this cycle, but modes 5, 6, 9 and 10 are missing, so that the works could also have been ordered in an 8-mode cycle.
Magnificat [ID: 26; W2001: 149; seen] In: Diruta 1609.
A cycle of 8 organ Magnificats in the 8 tones. There is one short setting of each tone, which is also printed in a number of transpositions (except for tone 3).
Ricercari [ID: 5; W2001: 150; seen] In: Diruta 1609.
Set of 12 organ ricercars in four-part counterpoint, each approximately 25 bars long. Diruta commissioned two works each from Banchieri, Fattorini, Luzzaschi and Picchi, and wrote the remaining works himself. The subjects demonstrate the modal interval species with remarkable clarity; in addition, the authentic subjects begin with an ascending interval, the plagals with a descending one.
Magnificat 8 tonorum [ID: 372; W2001: 151; not seen] In: Dressler 1571.
8 Magnificats for 4 voices (even verses).
Practica modorum explicatio [ID: 243; W2001: 152; seen] In: Dressler 1561.
Cycle of 9 motets in the 8 modes, 6 by Clemens non Papa, and 1 each by Maillart, Moreau and Senfl. Senfl’s Deus in adiutorium is borrowed from Glarean 1547 (cycle 192) and illustrates “ancient mode 5” on F without signature.
Second livre de chansons nouvelles [ID: 462; W2001: 118; seen] In: Second livre 1549.
A cycle of 26 chansons by different composers, ordered by modal pair, though somewhat irregularly.
Tiers livre de chansons nouvelles [ID: 463; W2001: 119; seen] In: Tiers livre 1549.
A cycle of 22 chansons by different composers, ordered by modal pair, without Phrygian works.
Magnificat octo tonorum [ID: 374; W2001: 185; seen] In: Gaucquier 1574.
8 Magnificats for 4-6 voices (even verses), composed for the Imperial court in Vienna.
Toccate e fughe [ID: 261; W2001: 154; seen] In: Eberlin 1747.
A cycle of consisting of a toccata and a fugue (which may have a seconda pars) for each mode and the tonus peregrinus.
Versetten und Cadenzen [ID: 304; W2001: 155; not seen] In: Eberlin c. 1830a.
NONE
Vor- und Nach-Spiele, Versetten und Fugetten [ID: 305; W2001: 156; not seen] In: Eberlin c. 1830b.
NONE
Piezas [ID: 202; W2001: 157; not seen] In: Elías, BarBC 450.
8 keyboard compositions for 4 voices, ordered in an 8-mode cycle, composed between c. 1715 and 1751 (death of the composer).
Versos [ID: 203; W2001: 158; not seen] In: E-Mn M/812.
An incomplete cycle of 9-23 versets in tones 1, 2 and 4-7.
Versos para psalmodia [ID: 204; W2001: 159; not seen] In: E-Mn M/812.
A cycle of 6-27 versets in each tone.
Falsi bordoni octo vocum [ID: 595; not seen] In: D-Mbs Mus.ms. 520; Ertel 1615.
Cycle of 8 falsi bordoni for 8 voices, all with a fully composed doxology.
Sacrosanctum magnae et intemeratae virginis canticum [ID: 654; not seen] In: Ertel 1615.
26 Magnificats, very likely forming one or more cycles trough the 8 tones.
Magnificat (even) [ID: 215; W2001: 160; not seen] In: Esquivel Barahona 1613.
From a lost source, dated 1613.
Magnificat (odd) [ID: 214; W2001: 161; not seen] In: Esquivel Barahona 1613.
From a lost source, dated 1613.
Cantiones aliquot sacrae [ID: 255; W2001: 162; not seen] In: Faber 1607.
12 tricinia in the 12 modes on texts from the Jubilus rhythmicus de nomine Jesu, a poem that was mistakenly ascribed to St. Bernard.
Magnificat octo tonorum [ID: 406; W2001: 163; not seen] In: Lost.
A Magnificat collection published in 1580; lost.
Magnificat octo tonorum primi versus [ID: 384; W2001: 164; not seen] In: Falconio 1588.
A cycle of 8 Magnificats for 4 voices (odd verses).
Canzoni [ID: 29; W2001: 165; seen] In: Fasolo 1645.
A cycle of 8 canzone in the 8 modes. The third piece is in a mixture of modes 3 and 4.
Magnificat [ID: 27; W2001: 166; seen] In: Fasolo 1645.
A cycle of 8 Magnificats for organ, each consisting of 4-5 versets, a Gloria Patri, and a short piece serving as a substitute for the antiphon.
Ricercate [ID: 28; W2001: 167; seen] In: Fasolo 1645.
A cycle of 8 ricercars for organ in the 8 modes.
Magnificat [ID: 120; W2001: 168; seen] In: Festa 1554; V-CVbav MS Capp. Giulia XII,5.
A cycle of 8 Magnificats. Probably written in Rome after 1517; Festa mentions this cycle in a letter dated 5 September 1536 (see Agee 1985).
Blumen Strauss [ID: 259; W2001: 170; seen] In: Fischer 1732.
A cycle in the 8 modes, consisting of a prelude, 6 fugues and a finale for each psalm tone key.
Magnificat [ID: 390; W2001: 171; not seen] In: Flori 1599.
A cycle of 8 Magnificats for 5 voices.
Magnificat [ID: 10; W2001: 172; seen] In: Franco 1611.
Probably composed in Mexico City between 1575 and 1585; 2 Magnificats for each mode. Those for mode 3 are lost.
Fantasie [ID: 31; W2001: 173; seen] In: Frescobaldi 1608.
A cycle of 12 keyboard compositions in the 12 modes.
Recercari [ID: 32; W2001: 174; seen] In: Frescobaldi 1615.
An incomplete cycle of 10 keyboard compositions in modes 1-10.
Versetti [ID: 536; not seen] In: I-Vnm CANAL 11068.
Set of verses in the 8 tones.
Tientos [ID: 86; W2001: 175; seen] In: Fuenllana 1554.
A cycle of 8 tientos for vihuela in the 8 modes.
Fugae [ID: 356; W2001: 176; seen] In: Fux 1725.
A cycle of 6 fugues for 3 voices through the 6 modes (Fux makes no distinction between authentic and plagal modes).
Intonationi [ID: 33; W2001: 177; seen] In: Gabrieli 1593.
8 intonations for organ, one for each mode.
Psalmi Davidici qui Poenitentiales nuncupantur [ID: 709; not seen] In: Gabrieli 1583.
Cycle of 7 penitential psalms for six voices through modes 1-7.
Ricercari [ID: 34; W2001: 178; seen] In: Gabrieli 1595.
A cycle of 13 ricercars through the 12 modes. 2 works are in mode 1; those in mode 8 and 10 are by Giovanni Gabrieli, the others by Andrea Gabrieli.
Intonationi [ID: 35; W2001: 179; seen] In: Gabrieli 1593.
A cycle of 11 intonations in the 12 modes (1 work is in mixed modes 3 and 4). Each piece is transposed once.
Ricercari per b [ID: 100; W2001: 180; seen] In: Galilei 1584.
A cycle of 12 short 4-part works for lute, one for each of the 12 modes.
Ricercari per h [ID: 99; W2001: 181; seen] In: Galilei 1584.
A cycle of 12 short 4-part works for lute, one for each of the 12 modes.
Sonate [ID: 497; seen] In: Galli 1691.
Cycle of 8 sonatas through the 8 psalm tone keys. The last 4 compositions in the source do not seem to belong to the cycle.
Magni dei magnae matris Mariae canticum [ID: 655; not seen] In: Gamer 1627.
Collection of Magnificats for 2 and 4 voices and basso continuo, probably a cycle through the 8 tones.
Falsi bordoni omnium tonorum prima modulatio quatuor vocum [ID: 158; W2001: 182; not seen] In: Falsibordoni 1601.
8 falsibordoni for 4 voices in the 8 tones, by an unknown composer.
Falsi bordoni omnium tonorum prima modulatio quinque vocum [ID: 677; not seen] In: Falsibordoni 1601.
8 falsibordoni for 5 voices in the 8 tones, by an unknown composer.
Falsi bordoni omnium tonorum quarta modulatio quatuor vocum [ID: 676; not seen] In: Falsibordoni 1601.
8 falsibordoni for 4 voices in the 8 tones, by an unknown composer.
Falsi bordoni omnium tonorum secunda modulatio quatuor vocum [ID: 674; not seen] In: Falsibordoni 1601.
8 falsibordoni for 4 voices in the 8 tones, by an unknown composer.
Falsi bordoni omnium tonorum secunda modulatio quinque vocum [ID: 678; not seen] In: Falsibordoni 1601.
8 falsibordoni for 5 voices in the 8 tones, by an unknown composer.
Falsi bordoni omnium tonorum sex vocum [ID: 679; not seen] In: Falsibordoni 1601.
8 falsibordoni for 6 voices in the 8 tones, by an unknown composer.
Falsi bordoni omnium tonorum tertia modulatio quatuor vocum [ID: 675; not seen] In: Falsibordoni 1601.
8 falsibordoni for 4 voices in the 8 tones, by an unknown composer.
Magnificat (i) [ID: 286; W2001: 183; not seen] In: D-As Tonk Schl 20; Gastoldi 1588.
A cycle of Magnificats in all tones.
Magnificat (ii) [ID: 287; W2001: 184; not seen] In: Gastoldi 1597.
A cycle of Magnificats in all tones.
La rhétorique des dieux [ID: 36; W2001: 186; seen] In: Gaultier c. 1650.
An incomplete cycle of lute compositions in the 12 modes following Zarlino’s new numbering. There is no music for mode 5.
Exercitia in cantu regulari [ID: 701; seen] In: Gesius 1615.
Six duets illustrating the modal pairs, orderded by the six solmisation syllables of the natural hexachord.
Exercitia in cantu transposito [ID: 702; seen] In: Gesius 1615.
Six duets illustrating the modal pairs, orderded by the six solmisation syllables of the soft hexachord.
Fugae [ID: 253; W2001: 187; seen] In: Gesius 1615.
12 2-voice canons in the 12 modes. The text of each canon describes the modal affect. Each canon is followed by several plainchant examples of the same mode.
Hymni in cantu regulari [ID: 254; W2001: 188; seen] In: Gesius 1615.
A cycle of 4-part hymn settings through the 12 modes. Each hymn has a short, separate Amen, to be sung after the last stanza.
Hymni in cantu transposito [ID: 700; seen] In: Gesius 1615.
A cycle of 4-part hymn settings through the 12 transposed modes. Each hymn has a short, separate Amen, to be sung after the last stanza.
Phantasiae sive cantiones mutae (i) [ID: 656; not seen] In: Getzmann 1613.
A set of 12 compositions, probably for 2 voices, in the 12 modes. According to the title page, they are taken from the works of the famous composers. All pieces are labelled with pseudoclassical mode names. The modal ordering is by final, divided over two hexachords.
Phantasiae sive cantiones mutae (ii) [ID: 657; not seen] In: Getzmann 1613.
A set of 12 compositions, probably for 2 voices, in the 12 modes. According to the title page, they are taken from the works of the famous composers. All pieces are labelled with pseudoclassical mode names. The modal ordering is by final, divided over two hexachords.
Sanctissimae Deiparae Canticum [ID: 403; W2001: 189; not seen] In: I-Bof ms 26a.
A cycle of 8 Magnificats for 4 voices in the 8 tones.
Livre de musique pour l’orgue [ID: 37; W2001: 190; seen] In: Gigault 1685.
An incomplete cycle of 95 pieces through the 8 modes. Modes 3 and 4 are represented by 1 group of works in mixed modes. There are no works in mode 7. The three remaining “major” modes are only weakly distinguished. Several works in modes 5 and 6 may also be used for mode 8, and works in mode 8 are generally also suitable for mode 6.
De binorum Modorum connexione exempla [ID: 316; W2001: 191; seen] In: Glarean 1547.
A cycle of 6 compositions by Josquin and 1 by Gregor Meyer. 6 of these exemplify modal mixture between the complementary modes of Glarean’s 12-mode system, and 1 illustrates the commixture of Dorian and Phrygian.
Duodecim modorum exempla [ID: 273; W2001: 192; seen] In: Glarean 1547.
A cycle of 55 compositions for 2-4 voices by many composers, illustrating the 12 modes in Glarean’s own ordering by octave species, starting with Hypodorian and ending with Hypoionian.
Fugae [ID: 251; W2001: 193; not seen] In: Goetting 1587.
A cycle of fugues in the 12 modes.
Magnificat [ID: 210; W2001: 194; seen] In: E-Mn Sección de Música. MS M. 2433.
A cycle of 8 Magnificats for 5 voices, in the 8 tones.
Premier livre, contenant huyct Pseaulmes de David [ID: 469; W2001: 195; seen] In: Goudimel 1551.
Cycle of 8 psalms for 3-5 voices through the four modal pairs, interrupted by a setting of the Ten Commandments. The 1558 reprint adds Psalm 114 and slightly reorders the cycle, bringing the mode 5 pieces together.
Second livre de psalmes de David [ID: 470; W2001: 197; seen] In: Goudimel 1559.
Incomplete cycle, consisting of 8 psalms for 3-5 voices through the modal pairs and lacking pieces for modes 3-4
Sizieme livre de pseaumes de David [ID: 303; W2001: 196; seen] In: Goudimel 1565.
Psalms 104, 92, 39, 102, 87, 56, 85, and 116. This collection is in almost perfect modal order: there are 2 works in mode 1 and 1 each in modes 3-8. Some of Goudimel’s other psalm collections seem to be ordered by mode also, although displaying irregularities.
Musicalische Recreation Anderer Theil [ID: 661; not seen] In: Gradenthaler 1672.
Suites for violin and basso continuo 'ordered in the 8 tones', according to the title of the collection.
Misas [ID: 516; not seen] In: E-ZAc LP 4.
Incomplete cycle of 4 masses in modes 1-4
Los ocho tonos en fabordon [ID: 85; W2001: 198; seen] In: Fuenllana 1554.
8 psalm-tone settings for vihuela and voice, 1 for each tone.
Magnificat à 4 [ID: 54; W2001: 199; seen] In: Guerrero 1563; Magnificat 1591-1.
8 Magnificats for 4 voices in the 8 tones.
Magnificat à 4-6 [ID: 530; not seen] In: Guerrero 1584.
Cycle of 10 magnificats for 4-6 voices in the 8 tones. Two magnificats in tone 1 and 2.
Esempi [ID: 732; not seen] In: I-OS Mss.Teoria B 1.
Cycle of 12 2-voice very short fugue examples, ending with a cadence on the final.
Pièces d’Orgue pour le Magnificat sur les huit tons differens de l’Église [ID: 511; not seen] In: Guilain 1706.
Cycle organ Magnificats through the 8 psalm tones, published in two volumes. Only the first volume, containing Magnificats 1-4, survives
Fantasies en b [ID: 227; W2001: 200; seen] In: Guillet 1610.
A cycle of 12 instrumental compositions in the 12 modes in Zarlino’s new numbering.
Fantasies en h [ID: 226; W2001: 201; seen] In: Guillet 1610.
A cycle of 12 instrumental compositions in the 12 modes in Zarlino’s new numbering.
Exempla [ID: 38; W2001: 202; seen] In: Gumpelzhaimer 1595.
A cycle of 12 examples for 4 voices in the 12 modes.
Ricercari [ID: 551; not seen] In: D-LEm PM 5218.
Cycle of 8 or 9 ricercars in modes 1-8(9?). It doesn't seem to survive complete in one source. Written 1612 at the latest (death of the composer).
Magnificat 8 tonorum [ID: 392; W2001: 203; not seen] In: Hassler 1601.
A cycle of 8 Magnificats for 4 voices (even verses).
Cadenzen und Versetten [ID: 545; not seen] In: D-Mbs Mus.ms. 6521.
Cycle for organ through the eight psalm tone keys. Each tone is represented by six miniature pieces, a cadenza, 4 verses and another cadenza.
Die acht Kirchen-Töne mit 30 leichten Versetten [ID: 658; not seen] In: Hefele 1798.
Cycle of 30 verses through the 8 tones for organ.
Magnificat omnitonum [ID: 383; W2001: 204; not seen] In: Hercules 1587.
A set of Magnificats for 4 voices in all tones.
Evangelia (i) [ID: 39; W2001: 205; not seen] In: Nucius 1613; Hoffmann 1582; Raselius 1591; Herpol 1565; Thüring 1624.
A cycle of 12 gospel motets in the 12 modes. Herpol’s Evangelia are often cited as examples; these citations refer to the collection as a whole, and thus to the next three cycles as well.
Evangelia (ii) [ID: 333; W2001: 206; not seen] In: Herpol 1565.
A cycle of 12 gospel motets in the 12 modes.
Evangelia (iii) [ID: 334; W2001: 207; not seen] In: Herpol 1565.
A cycle of 12 gospel motets in the 12 modes.
Evangelia (iv) [ID: 335; W2001: 208; not seen] In: Herpol 1565.
A cycle of 12 gospel motets in the 12 modes.
Magnificat (i) [ID: 623; not seen] In: D-Kl 4° Ms. Mus. 9/1.
Cycle of 8 4-voice Magnificats collected by Heugel: 6 works are considered anonymous, one is by Divitis or Richafort, another by Walter. Cycle created in 1585 at the latest (death of the collector).
Magnificat (ii) [ID: 624; not seen] In: D-Kl 4° Ms. Mus. 9/1.
Collection of 8 4-voice Magnificats in the 8 tones, probably by Heugel, dated in or before 1585 (death of the composer).
Exempla (i) [ID: 263; W2001: 209; seen] In: Heyden 1537.
8 examples for the 8 modes in 2-4 voices, taken from the works of Alexander Agricola, Dietrich, Josquin, La Rue, and Weerbecke.
Exempla (ii) [ID: 241; W2001: 210; seen] In: Heyden 1540.
8 examples for the 8 modes in 3-4 voices, taken from the works of Alexander Agricola, Josquin, Ockeghem, and Weerbecke (1 example is anonymous).
Praeambula [ID: 544; not seen] In: D-Mbs Mus.ms. 261.
Cycle of around 40 praeambula for organ through the eight psalm tone keys. One piece in E major by Ferdinand Michl inserted in the mode 4 group.
Regina caeli [ID: 539; not seen] In: A-LA 1687 .
Incomplete cycle of 4 Regina Caeli settings for voices and instuments, in modes 1-4.
Exempla 12 tonorum in scala dura [ID: 244; W2001: 211; seen] In: Hoffmann 1577; Hoffmann 1582; Thüring 1624.
A cycle of 12 motets for 4-6 voices in the 12 untransposed modes.
Exempla 12 tonorum in scala molli [ID: 245; W2001: 212; seen] In: Hoffmann 1577; Hoffmann 1582; Thüring 1624.
A cycle of 12 motets for 4-6 voices in the 12 modes, with a signature of 1 flat.
Fugae [ID: 246; W2001: 213; not seen] In: Hoffmann 1582; Thüring 1624; Lost.
A collection of 24 fugues in the 12 modes, probably in 2 cycles. The music is lost.
Magnificat [ID: 299; W2001: 214; not seen] In: D-Rp A. R. 908-929.
10 Magnificats in the 8 tones, 2 in tones 7 and 8, written no later than 1569 (death of the composer).
Magnificat 2 vocum [ID: 300; W2001: 215; not seen] In: RegB 964-84.
A cycle written no later than 1634 (death of the composer).
Psalmi [ID: 292; W2001: 216; not seen] In: Homberger c. 1605.
A cycle of 9 psalm-tone settings; two in mode 8. Modes 5 and 6 are called Ionicus and Hypoionicus, respectively, showing that this collection constitutes a reaction of the 12-mode system.
Magnificat [ID: 137; W2001: 217; not seen] In: Hoste da Reggio 1550.
A cycle of Magnificats for 4 voices in all 8 tones.
Magnificat [ID: 184; W2001: 218; not seen] In: D-Sl Cod. mus. I 2° 14.
A set of 8 4-voice parody Magnificats in the 8 tones.
Sacrae cantiones [ID: 185; W2001: 219; not seen] In: Hoyoul 1587.
Magnificat omnitoni [ID: 378; W2001: 220; not seen] In: Isnardi 1582.
A set of Magnificats for 4-6 voices in all tones.
Magnificat [ID: 555; not seen] In: Jakob c. 1764.
Cycle of 8 Magnificats for choir (plainchant) and organ accompaniment
Huitiesme livre de chansons nouvelles [ID: 471; W2001: 221; not seen] In: Janequin 1540.
A cycle of 19 chansons by Janequin through the four modal pairs. The 7th-8th mode group is represented by a single work, anomalously ending on d4.
Trente et ungyesme livre de chansons nouvelles [ID: 472; W2001: 222; not seen] In: Janequin 1549.
A cycle of 30 chansons through the four modal pairs.
Dixit Dominus [ID: 546; not seen] In: D-MÜs SANT Hs 2097 (Nr. 1-7).
Cycle of 7 Dixit Dominus for 2 choirs in the 8 psalm tone keys. Tone 5 is missing
Les huit tons de l'église [ID: 513; not seen] In: Jullien 1690.
Cycle of 8 suites for organ, through the 8 psalm tone keys
Versets (i) [ID: 40; W2001: 223; seen] In: B-Br Ms II 3326 Mus.
A cycle of about 120 versets for organ in the 8 modes by Abraham van den Kerckhoven and other composers.
Versets (ii) [ID: 407; W2001: 224; seen] In: B-Br Ms II 3326 Mus.
A cycle of about 120 versets for organ in the 8 modes by Abraham van den Kerckhoven and other composers.
Versets (iii) [ID: 408; W2001: 225; seen] In: B-Br Ms II 3326 Mus.
A cycle of about 70 versets for organ in the 8 modes by Abraham van den Kerckhoven and other composers.
Preludes et versets de tous les tons composés de divers auteurs [ID: 336; W2001: 226; not seen] In: Lost.
The manuscript—dated 1764—is lost. One of the composers was probably Melchior van den Kerckhoven.
Magnificat octo tonum [ID: 169; W2001: 227; not seen] In: Kerle 1561.
A set of 16 Magnificats for 4 voices in the 8 tones, one setting of the odd verses and one of the even in each tone.
Preces speciales [ID: 170; W2001: 228; seen] In: Kerle 1562.
A cycle of 10 responsories for 4 voices, in the 8 modes. 2 compositions, numbers 6 and 8, are out of modal order.
Modulatio organica super Magnificat [ID: 42; W2001: 229; seen] In: Kerll 1686.
A cycle of Magnificat verses, 7 for each of the 8 tones.
Toccate [ID: 41; W2001: 230; seen] In: Kerll 1675.
A cycle of 8 toccatas in the 8 modes, composed in or before 1675 (death of the composer).
Keyboard pieces [ID: 566; not seen] In: D-Mbs Mus.ms. 12607.
Vast cycle of keyboard pieces collected by Maria Catharina Kiening. Nearly all compositions are anonymous. The collection consists of 193 pieces, clearly organised by tone (tone 7 is missing) but with a number of irregularities.
Praeambula (i) [ID: 30; W2001: 231; seen] In: Kindermann 1645.
A cycle of 6 praeambula in the untransposed mixed modes of the 12-mode system.
Praeambula (ii) [ID: 357; W2001: 232; seen] In: Kindermann 1645.
A cycle of 6 praeambula in the mixed modes of the 12-mode system, all with a signature of 1 flat.
Paradigmata [ID: 153; W2001: 233; seen] In: Kircher 1650.
A cycle of 12 short 4-voice examples in the 12 modes; the cycle is identical to Rodio’s cycle 388, except that texts exemplifying the modal affects have been added.
Fugae à 2 [ID: 506; not seen] In: Klemm 1631.
Fugae à 3 [ID: 507; not seen] In: Klemm 1631.
Fugae à 4 [ID: 508; not seen] In: Klemm 1631.
Leichte Cadenzen durch alle Töne [ID: 721; not seen] In: H-Bn Ms. mus. IV. 2.382.
Cycle of short organ pieces through the 8 tones, undated but probably dating from around 1800.
Choralbeispiele [ID: 735; seen] In: Knecht 1798.
Cycle of 30 short organ pieces through the 12 modes, consisting of chorale and plainchant settings. Chorales ar missing for modes 5 and 6, plainchant for modes 9-12.
Figuralische Choral-Zierde [ID: 310; W2001: 234; seen] In: Kobrich 1751.
A cycle of 64 versets and 16 praeambula through the 8 tones.
Certamen aonium [ID: 260; W2001: 235; seen] In: Kolb 1733.
A cycle consisting of a prelude, 3 versets and a cadence in each of the 8 tones, for organ.
Falsi bordoni octo vocum [ID: 596; not seen] In: D-Mbs Mus.ms. 520.
Cycle of 8 falsi bordoni for 8 voices, all with a fully composed doxology.
Arien [ID: 660; seen] In: Königsperger 1755.
Cycle of 8 arias for keyboard in the 8 tones.
Praeambula [ID: 659; seen] In: Königsperger 1755.
Set of 8 praeambula, each followed by 3 verses, for organ, through the 8 tones
Praeambulae cum fugis [ID: 543; not seen] In: Königsperger 1756.
Cycle through the eight tones, printed in multiple volumes.
Magnificat [ID: 350; W2001: 236; seen] In: La Rue, Magnificat.
The source containing the complete cycle is lost, but 7 of the 8 works survive in other sources. 5 of these are in cycle 132.
Sacra Cantica Beatae Mariae Virginis cuiusvis toni [ID: 382; W2001: 237; not seen] In: Lambardi 1586.
16 Magnificats for 4 voices; one setting of the odd verses and one of the even for each tone.
Symphoniae [ID: 114; W2001: 238; not seen] In: Lappi 1614; Lappi 1622.
A cycle of instrumental works in the 8 modes (incomplete in the first edition).
Ad duas voces cantiones (texted) [ID: 44; W2001: 239; seen] In: Lassus 1579; Lassus 1577.
A cycle of 12 vocal duets in the 8 modes.
Ad duas voces cantiones (untexted) [ID: 171; W2001: 240; seen] In: Lassus 1579; Lassus 1577.
An incomplete 8-mode cycle of untexted duets, lacking examples for modes 3 and 5.
Cantiones aliquot [ID: 186; W2001: 241; seen] In: Lassus 1569.
An incomplete 8-mode cycle, consisting of 13 motets for 5 voices. Modes 3 and 4 are represented by one group of works. Modes 5 and 8 are lacking, and the one motet in mode 7 appears between those in mode 6.
Cantiones sacrae 6 vocum [ID: 314; W2001: 242; seen] In: Lassus 1594.
An 8-mode cycle consisting of 26 motets for 6 voices. Modes 3 and 4 are represented by one group of works. 2 works with the tonal type h-g2-A appear in the place of mode 7. Powers rejects the explanation that they are in psalm-tone 7, since they contain none of its melodic features; a possible explanation is that they are “externally” in psalm-tone 7.
Chansons nouvelles [ID: 189; W2001: 243; seen] In: Lassus 1571a.
A cycle of 5-voice chansons through the 8 modes. Works ending on A appearing at the end are in the tonus peregrinus.
Fasciculi aliquot sacrarum cantionum à 4 [ID: 235; W2001: 244; seen] In: Raselius 1591; Lassus 1582.
An incomplete cycle of 6 motets for 4 voices, in modes 1, 2, 3/4 and 5.
Fasciculi aliquot sacrarum cantionum à 5 [ID: 313; W2001: 245; seen] In: Lassus 1582.
An 8-mode cycle of 57 motets for 5 voices; modes 3 and 4 are represented by one group of works. The cycle is composed of works from 3 earlier prints that according to Powers are all in modal order (Lassus 1562 (cycle 256), Lassus 1569 (cycle 241) and Lassus 1571b (cycle 253)).
La fleur des chansons à 4 [ID: 662; not seen] In: Lassus 1592.
Set of 41 4-voice chansons, in modal order (according to the title page) but in reality forming an incomplete modal cycle with one group of songs representing modes 3 and 4, and no pieces in mode 6.
La fleur des chansons à 5 [ID: 663; seen] In: Lassus 1592.
Set of 25 5-voice chansons, in modal order (according to the title page) but in reality forming an incomplete modal cycle with one group of songs representing modes 3 and 4, and no pieces in modes 5 and 7.
Lagrime di San Pietro [ID: 46; W2001: 246; seen] In: Lassus 1595.
An incomplete modal cycle of 21 spiritual madrigals for 7 voices. Modes 3 and 4 are represented by one group of works. There are no works in mode 8, and the last piece (tonal type h-g2-A) may be regarded either as in the tonus peregrinus or as using the psalm-tone ending of mode 7.
Magnificat 4 vocum (i) [ID: 125; W2001: 247; seen] In: Lassus 1567a.
A cycle of 8 Magnificats, even verses.
Magnificat 4 vocum (ii) [ID: 126; W2001: 248; seen] In: Lassus 1587a.
A cycle of 8 Magnificats (even verses) composed in Munich; according to the editor, they should be dated before 1567.
Magnificat 5 vocum (i) [ID: 124; W2001: 249; seen] In: Lassus 1567a.
A cycle of 8 Magnificats, even verses.
Magnificat 5 vocum (ii) [ID: 122; W2001: 250; seen] In: D-Mbs Mus.ms. 48.
A cycle of 8 Magnificats, even verses.
Magnificat 6 vocum [ID: 123; W2001: 251; seen] In: Lassus 1567a.
A cycle of 8 Magnificats, even verses.
Meslanges [ID: 190; W2001: 252; not seen] In: Lassus 1576.
A cycle of chansons in 5 or more voices through the 8 modes. Works ending on A appearing at the end are in the tonus peregrinus.
Moduli nunquam hactenus editi [ID: 312; W2001: 253; seen] In: Lassus 1571b.
A cycle of 17 motets for 5 voices trough the 8 modes. 4 works are in mode 1, 4 in mode 2 (one closing on the confinal), 1 in mode 3, none in mode 4, and 2 in each of the remaining 4 modes.
Newe Teutsche Liedlein [ID: 188; W2001: 254; seen] In: Lassus 1567b.
A cycle of songs for 5 voices through the 8 modes. There are no works in mode 4; works ending on A appearing at the end are in the tonus peregrinus.
Psalmi Davidis poenitentiales [ID: 45; W2001: 255; seen] In: Lassus 1584.
A cycle of 8 psalm settings for 5 voices, one for each of the 8 modes, composed c. 1560.
Sacrae cantiones [ID: 43; W2001: 256; seen] In: Lechner 1593; Lassus 1562.
A cycle of 25 motets for 5 voices in the 8 modes; modes 3 and 4 are represented by one group of works.
Sacrarum cantionum Moduli [ID: 321; W2001: 257; seen] In: Lassus 1587b.
A cycle of 40 motets for 4 voices in the 8 modes; modes 5 and 6 are reversed, as are modes 7 and 8.
Selectiorum aliquot cantionum sacrarum [ID: 311; W2001: 258; seen] In: Lassus 1582; Lassus 1570.
An incomplete cycle of motets for 6 and 8 voices, somewhat disturbed. Works in modes 4 and 6 are missing.
Psalmi [ID: 631; not seen] In: D-Rtt F.K.Mus. 76/I Abth.II.
Cycle of 8 short 4-voice psalm settings, the first of which is ascribed to Lassus.
Falsibordoni [ID: 337; W2001: 259; not seen] In: D-Mbs Mus.ms. 516.
A cycle of falsi bordoni for 4-8 voices by Lassus, Mortaro and Zucchini, compiled c. 1600.
Airs [ID: 228; W2001: 260; seen] In: Le Jeune 1608a.
A cycle of airs for 3-6 voices through the 12 modes in Zarlino’s new numbering, composed no later than 1600 (death of the composer).
Canzonette a 4 [ID: 473; W2001: 261; not seen] In: Le Jeune 1585.
A group of 14 canzonette in an incomplete 12 mode cycle, lacking modes 5-9 (traditional order)
Canzonette a 5 [ID: 474; W2001: 262; not seen] In: Le Jeune 1585.
A group of 16 canzonette in an incomplete 12 mode cycle, lacking modes 5, 6 and 12 (traditional order)
Chansons a 4 [ID: 475; W2001: 263; seen] In: Le Jeune 1585.
A group of 13 chansons in an incomplete 12 mode cycle (traditional order)
Dodecacorde [ID: 51; W2001: 264; seen] In: Le Jeune 1598.
A cycle of 12 French psalms in the 12 modes in Zarlino’s new ordering, composed before 1590.
Octonaires [ID: 52; W2001: 265; seen] In: Le Jeune 1606.
A cycle of 36 compositions for 3-4 voices, 3 for each of the 12 modes in Zarlino’s new numbering, composed no later than 1600 (death of the composer).
Printemps [ID: 476; W2001: 266; seen] In: Le Jeune 1603.
A cycle of 38 airs mesurés and chansons through the 12 modes in Zarlino’s new numbering, composed no later than 1600 (death of the composer). There are no works for mode 6, and the last work in the collection does not belong to the cycle.
Pseaumes [ID: 477; W2001: 267; not seen] In: Le Jeune 1564.
A cycle of 9 psalm settings through the 8 modes. The 10th item in the collection may be in mode 8 and thus belong to the cycle; the 11th is a dialogue in mode 2 and thus falls outside the cycle.
Second livre des airs [ID: 229; W2001: 268; seen] In: Le Jeune 1608b.
A cycle of airs for 3-6 voices through the 12 modes in Zarlino’s new numbering, composed no later than 1600 (death of the composer).
Examples [ID: 150; W2001: 269; seen] In: Le Roy 1574.
An 8-mode cycle of 11 intabulations of chansons, 10 by Lassus and 1 by an anonymous composer.
Canticum Beatae Mariae Virginis quod Magnificat inscribitur [ID: 527; not seen] In: Canticum 1557.
A cycle of 8 Magnificats in the 8 tones, composed by Arcadelt, Cadéac, Certon, Goudimel, Leschenet, Maillard and Sermisy.
Magnificat [ID: 266; W2001: 270; not seen] In: Octo 1564.
A cycle containing 8 Magnificats by Sermisy, Le Blanc, and anonymous composers.
Les pièces d’orgues [ID: 47; W2001: 271; seen] In: Lebègue 1676.
A cycle of organ suites in the 8 tones.
Magnificat [ID: 48; W2001: 272; seen] In: Lebègue c. 1678.
A cycle of 8 Magnificats for organ.
Motectae sacrae (i) [ID: 49; W2001: 274; seen] In: Lechner 1575.
9 motets for 4 voices in an incomplete 8-mode cycle (modes 3 and 4 are not distinguished); 3 works are in mode 1.
Motectae sacrae (ii) [ID: 404; W2001: 275; seen] In: Lechner 1575.
12 motets for 5 voices in modes 1-3 and 4-8.
Motectae sacrae (iii) [ID: 324; W2001: 276; seen] In: Lechner 1575.
8 motets for 6 voices in an incomplete cycle consisting of modes 1-3 and 6-8.
Newe Teutsche Lieder mit fünff Stimmen (i) [ID: 328; W2001: 278; seen] In: Lechner 1577b.
A set of 6 songs and 1 motet, all for 5 voices, apparently forming an incomplete cycle through the 8 modes.
Newe Teutsche Lieder mit fünff Stimmen (ii) [ID: 330; W2001: 279; seen] In: Lechner 1582.
Songs 1-11 form an incomplete cycle in the 8 modes; modes 4 and 7 are lacking.
Newe Teutsche Lieder mit vier Stimmen [ID: 327; W2001: 280; seen] In: Lechner 1577b.
An incomplete 8-mode cycle of 10 songs for 4 voices, lacking works in modes 3 and 4.
Newe Teutsche Lieder zu drey Stimmen (i) [ID: 325; W2001: 281; seen] In: Lechner 1576.
A set of 16 songs for 3 voices; they appear to be ordered by the 8 modes but authentic and plagal modes are not clearly distinguished. The 17th song is in 4 voices and does not fit in the cycle.
Newe Teutsche Lieder zu drey Stimmen (ii) [ID: 326; W2001: 282; seen] In: Lechner 1577a.
A cycle of 21 songs for 3 voices through the 8 modes.
Newe lustige Teutsche Lieder [ID: 331; W2001: 277; seen] In: Lechner 1588.
A cycle of 29 songs for 4 voices and 1 for 5 in the 8 modes. Modes 3 and 4 are not clearly distinguished. A number of works seems to end on the confinal. Between modes 7 and 8 a work appears with the tonal type h-c1-c. The edition follows the 1588 reprint; the original print of 1586 contained fewer compositions.
Sacrae cantiones quinque vocum [ID: 329; W2001: 283; seen] In: Lechner 1581.
Motets 1-14 (5 voices) form an incomplete cycle through the 8 modes, lacking modes 4 and 8.
Sacrae cantiones sex vocum [ID: 699; seen] In: Lechner 1581.
Cycle comprising motets 15-23, lacking mode 4 and having mode 8 between modes 3 and 5.
Sanctissimae Virginis Mariae Canticum [ID: 50; W2001: 284; seen] In: D-As Tonk Schl 20; Lechner 1578.
A cycle of 8 Magnificats for 4 voices in the 8 tones (even verses).
Sonate a due violini [ID: 499; seen] In: Legrenzi 1655.
Cycle of 6 sonatas in the 8 psalm tone keys. Tones 4 and 6 are missing.
Fughe à 2 [ID: 540; seen] In: D-B Mus.ms. 12837/2.
Cycle of 12 2-part fugues through the 12 modes (traditional numbering). The set is preceded by a few other 2-part fugues which seem to be in mode 1. The treatise seems to date from the end of Leo's life (died 1744).
Magnificat [ID: 389; W2001: 285; not seen] In: Leonardus 1594.
Probably a set of 4-voice Magnificats through the 8 tones; a manuscript source (dated 1598) of Magnificats by Leonardus that Illing mentions may contain the same cycle.
Sonate [ID: 172; W2001: 286; seen] In: Leoni 1652.
31 sonatas in 8 tones. Modes 5 and 7 are lacking; 2 works are out of modal order.
Magnificat [ID: 240; W2001: 287; seen] In: Liban 1540.
9 Magnificat through the 8 modes and tonus peregrinus in a simple contrapuntal style. They may have been modelled on Agricola’s Magnificats (cycle 7).
Dui cromatici da cantare et sonare [ID: 83; W2001: 288; seen] In: Licino 1545; Licino 1546.
A cycle of 45 2-part canons in the 8 modes.
Psalmorum intonationes [ID: 242; W2001: 289; seen] In: Listenius 1537; Solin 1561.
A cycle of 8 psalm-tone settings for 4 voices, in note-against-note counterpoint.
Versos [ID: 630; not seen] In: RCH-Sbnc jp/o/20140924.
Cycle of verses for keyboard in the 8 psalm tone keys, with one set of verses serving for both tones 2 and 3.
Magnificat [ID: 685; not seen] In: Lobo 1605.
Cycle of 8 Magnificats for 4 voices in the 8 tones.
Falsibordoni [ID: 371; W2001: 293; seen] In: Lorente 1672.
A cycle of 10 falsibordoni in 8 tones (2 for tones 7 and 8).
Secondo libro de ricercari [ID: 130; W2001: 294; seen] In: Luzzaschi 1578.
12 compositions in 12 modes (Zarlino’s numbering), thus composed after 1571, in Ferrara.
Magnificat [ID: 688; not seen] In: E-Mn M/02428.
Cycle of 8 Magnificats for 4 voices in the 8 tones.
Juego de Versos de todos los tonos por la cuerda de Gesolreut [ID: 722; seen] In: E-Mn M/1735.
Cycle through the 8 tones for organ. Each tone is represented by a short falsobordone for voice and organ and 40 versets (44 for tone 8). Tones are transposed sich that the vocal part always begins on G.
Otros versos para la psalmodia [ID: 199; W2001: 290; seen] In: E-Boc MS 37.
4-voice versets in the 8 tones, 2-4 pieces for each tone. None for tone 3.
Otros versos, para diferenciar en estos ocho términos, od Modos [ID: 200; W2001: 291; seen] In: E-Boc MS 37.
3-part versets in the eight modes, 2-3 pieces for each mode.
Versos para la psalmodia [ID: 198; W2001: 292; seen] In: E-Boc MS 37.
4-voice versets; 3-4 versets in each of the 8 tones.
Magnificat [ID: 308; W2001: 326; not seen] In: D-Sl Cod. mus. I 2° 49.
A cycle of 8 Magnificats for 4 voices.
Ricercari (FlorBN) [ID: 102; W2001: 296; seen] In: FlorBN Magl. 106bis.
A cycle of 12 ricercars for 4 voices in the 12 modes, probably written in Naples between 1603 and 1614 (death of the composer).
Ricercate libro secondo [ID: 103; W2001: 297; not seen] In: Macque 1586.
A cycle of 12 ricercars for 4 voices in the 12 modes, composed no later than 1614 (death of the composer), probably in Naples.
Ricercari ossia Studi sopra li Toni XII [ID: 529; seen] In: RegB Mappe 4; D-Eu Esl IX 32.
Generally not ascribed to Palestrina. Newcomb (1987) proposed Giovanni de Macque as the composer.
Pneumes [ID: 365; W2001: 295; not seen] In: Macé 1582.
A cycle of 18 falsibordoni for 4 voices through the 8 tones and the tonus peregrinus; the psalm-tones are in the tenor.
Canticum Beatissimae Virginis Mariae [ID: 376; W2001: 298; not seen] In: Madelka 1581.
8 Magnificats for 4 voices, most likely a cycle through the 8 tones.
Magnificat [ID: 269; W2001: 299; not seen] In: Magalhães 1636; P-Lf Ms.II.
8 odd-verse Magnificats with canons at the interval corresponding to the number of the mode.
Fugae [ID: 247; W2001: 300; seen] In: Magirus 1596.
A cycle of canons for 3-5 voices through the 12 modes in Magirus’s own ordering. 2 canons (or 2 versions of the same canon) illustrate each mode, one at its natural pitch and one with a signature of a flat. There are similarly 1 or 2 canons for each of the 6 mixed modes.
Magnificat octo tonum [ID: 218; W2001: 301; not seen] In: Mainerio 1574.
A set of Magnificats for 4 voices in the 8 modes.
Canticum Canticorum Salomonis [ID: 638; not seen] In: D-B Mus.ms. 13470; Mangon 1609.
Complete setting (4-8 voices) of the Song of Songs as an eight mode cycle. Only one of the four projected volumes survives, covering modes 1 and 2, each represented by 8 compositions. There is no evidence that the cycle was ever completed.
Sinfonie [ID: 173; W2001: 302; seen] In: Marini 1655.
Six short sinfonie in modes 1-6, forming an incomplete cycle through the 8 modes.
Contrappunti sopra il canto fermo [ID: 416; W2001: 303; seen] In: Martini 1774.
A cycle of compositions on cantus firmi, written by Morales, Palestrina, Porta, Victoria and others. For each of the 8 modes, about 6 examples are printed in full. There are 3 examples for the tonus peregrinus, and a setting of the plainchant Haec dies, which is also considered a special case.
Versetti [ID: 640; not seen] In: I-Rrostirolla MS MUS 561.
Cycle of 150 organ verses in tones 1-6
Sinfonie di tutti gli tuoni [ID: 491; seen] In: Merula 1651.
Cycle through the eight psalm tone keys, for an ensemble of 2 violins, violone and basso continuo
Ricercari d’intavolatura d’organo [ID: 93; W2001: 304; seen] In: Angleria 1622; Merulo 1567; Merulo 1605.
A cycle of 8 ricercars in the 8 modes; modes 5 and 6 are replaced by modes 11 and 12.
Toccate [ID: 53; W2001: 305; seen] In: Merulo 1598; Merulo 1604.
An incomplete cycle through the first 10 modes, consisting of 19 toccatas. There are no separate works in modes 11 and 12; those in mode 5 and 6 are called works in the “undecimo detto quinto tuono” and the “duodecimo detto sesto tuono”.
Magnificat [ID: 684; not seen] In: E-C 134.
Cycle of 8 Magnificats in the 8 tones, for an unknown number of voices. Composed no later than 1683 (death of the composer)
Fantasias (i) [ID: 230; W2001: 306; seen] In: Milán 1536.
A cycle of 11 fantasias for vihuela in 8 modes. The cycle is interrupted by the insertion of another cycle of fantasias in mixed modes (cycle 248).
Fantasias (ii) [ID: 268; W2001: 307; seen] In: Milán 1536.
A cycle of 7 fantasias for vihuela in the 4 mixed modes of the 8-mode system, positioned inside a larger cycle though the regular modes (230).
Fantasias (iii) [ID: 295; W2001: 308; seen] In: Milán 1536.
20 fantasias for vihuela in the 8 modes or in mixed modes, in irregular ordering. Could also be seen as 2 interleaved cycles, one in in the regular modes and one in the mixed modes.
Pavanas [ID: 149; W2001: 309; seen] In: Milán 1536.
Cycle of 4 pavans in mixed modes.
Mariae Cantica vulgo Magnificat dicta [ID: 322; W2001: 310; not seen] In: Mariae 1550.
Contains Magnificats by Jacquet, Morales and Richafort.
Symphona isometra [ID: 323; W2001: 311; not seen] In: Mariae 1550.
Probably a set of falsibordoni in the 8 tones.
Magnificat [ID: 118; W2001: 312; not seen] In: Molinaro 1605.
A cycle of 8 Magnificats for 2 voices.
Preludi e versetti per l'organo [ID: 637; seen] In: D-B Mus.ms. 14632/1 Nr. 2.
Collection of organ pieces, consisting of a prelude, 6 versetti and another prelude for each tone exept tone 3, for which there is only one prelude. Composed no later than 1750 (death of the composer).
Magnificat [ID: 283; W2001: 313; not seen] In: D-As Tonk Schl 20.
A cycle of Magnificats for 4 voices in the 8 tones.
Magnificat [ID: 119; W2001: 314; seen] In: Zacconi 1622; Morales 1545; D-As Tonk Schl 20.
A set of Magnificats for 4 voices in the 8 tones, printed in some sources as 1 through-composed work for each tone, in others as 2 works, one for the odd verses and the other for the even of each tone.
Magnificat [ID: 724; not seen] In: E-TUY 2.
Cycle of Magnificats for 4 voices, odd-numbered tones by Morales and even-numbered ones by Benayas.
Cantica Beatae Mariae Viriginis secundum 12 modos [ID: 298; W2001: 315; not seen] In: Lost.
A cycle of Magnificats through the 12 modes, written c. 1600, lost.
Magnificat 5 vocum omnium tonorum [ID: 409; W2001: 316; not seen] In: Lost.
A cycle of Magnificats, probably through the 12 modes, written c. 1600; lost.
Magnificat à 4 secundum 12 modos [ID: 391; W2001: 317; seen] In: Lost.
A cycle of Magnificats through the 12 modes, written c. 1600, lost.
Tunes [ID: 367; W2001: 318; seen] In: Morley 1597.
8 falsibordoni in the 8 modes, for 4 voices.
Fantasias y composturas glosadas [ID: 96; W2001: 319; seen] In: Mudarra 1546.
A cycle through the 8 modes, consisting of 26 works for vihuela.
Toccate [ID: 55; W2001: 320; seen] In: Muffat 1690.
12 toccatas for organ in the 12 modes. Some of the transpositions are curious. Modes 11 and 12 seem to be exchanged.
24 toccatas mit 24 capriccios [ID: 317; W2001: 321; not seen] In: Untraced.
Keyboard works, ordered in 1 or 2 cycles through the 12 modes, composed before c. 1740.
72 Versetl samt 12 Toccaten [ID: 57; W2001: 322; seen] In: Muffat 1726.
1 toccata and 6 verses for each of the 12 modes. Modes 9-12 are curious.
Ricercate [ID: 318; W2001: 323; seen] In: Muffat 1733.
A cycle of 8 keyboard works, one for each of psalm tone keys 1-8; composed before or in 1733. First 8 compositions in a set of 32 ricercate, all notated in score format.
Octi-tonium [ID: 58; W2001: 324; seen] In: Murschhauser 1696.
A cycle consisting of a praeambulum, 5 fugues and a finale for each of the 8 psalm-tone keys. There are 2 series of works for tone 5, one ending on A (regular) and one on F (irregular).
Prototypon longo-breve [ID: 315; W2001: 325; seen] In: Murschhauser 1707; Murschhauser 1703.
A cycle of 4-8 organ pieces in the 8 most often used of the 12 modes. There are no works in modes 4, 5, 6 and 9.
Tonos para vihuela [ID: 95; W2001: 327; seen] In: Narváez 1538.
A cycle of 8 works for vihuela in the 8 modes.
Die spielende Muse [ID: 264; W2001: 328; seen] In: Nauss c. 1745; Nauss c. 1750.
A cycle of short didactic organ works in the 8 tones, printed in two volumes.
Magnificat à 4 [ID: 522; not seen] In: E-VAcp LP 21.
8 magnificats in 8 tones, but the order seems irregular (probably 2-3-4-1-5-6-7-8) dated 1650 or earlier (death of the composer).
Magnificat à 4 [ID: 201; W2001: 329; not seen] In: Navarro 1590.
Composed before 1580. A cycle of Magnificats, each containing a canon at the interval of the psalm tone (tone 1, unison; tone 2, second; tone 3, third; etc.).
Magnificat à 5 [ID: 519; not seen] In: P-EVc, Ms. 5.
Set of 8 magnificats in the 8 tones.
Magnificat à 4 [ID: 520; not seen] In: Navarro 1614.
8 magnificats in 8 tones for 4 voices, with additional voices in some sections
Magnificat à 8 [ID: 521; not seen] In: Navarro 1614.
Magnificat [ID: 174; W2001: 330; not seen] In: Neriti da Salò 1593.
A cycle of 8 Magnificats for 4 voices in all the tones.
Deo Gratias [ID: 60; W2001: 331; not seen] In: Nivers 1667.
A cycle of 8 short organ pieces in the 8 tones. Those in modes 2, 6 and 8 can be used as transpositions of modes 1, 2 and 6.
Livre d’orgue [ID: 59; W2001: 332; seen] In: Nivers 1665.
A cycle of organ compositions in the 8 tones, consisting of a prelude and 8-10 other works for each tone. The compositions in tones 2 and 6 may also be used for transposed tones 1 and 5.
Troisième livre d’orgue [ID: 61; W2001: 333; seen] In: Nivers 1675.
A cycle of short pieces in tones 1-6; tones 5 and 6 can be used for tones 7 and 8. Tones 2 and 6 are regarded as transpositions of tones 1 and 5. For most tones there is one series of 13 pieces; there are 2 such series for tones 1 and 6.
Magnificat [ID: 402; W2001: 334; not seen] In: Nodari 1620.
A cycle of 8 Magnificats for 5 voices through the 8 tones.
Magnificat 8 tonorum [ID: 387; W2001: 335; not seen] In: Untraced.
A set of 4-voice Magnificats from a manuscript dated 1599; the Magnificats by Andreas Ostermaier mentioned by Illing (in a lost manuscript from Kassel, dated 1594) were probably a copy of Otto’s Magnificats written by Ostermaier.
Musa Jessaea... quinque vocibus ad octonos modos expressa [ID: 666; not seen] In: Otto 1609.
Possibly an 8-mode cycle, followed by some Magnificats. Source(s) seem lost or at best incomplete.
Magnificat fugues [ID: 622; not seen] In: GB-Lbl Add. 31221; D-W Cod. Guelf. 339 Mus. Hdschr. (Nr. 1-71).
Around 100 fugues assigned to a Magnificat tone, for organ. It is not entirely clear to what extent Pachelbel is responsible for their ordering in a cycle. The surviving sources that display a cyclical ordering differ considerably in their composition.
Le Vergini [ID: 64; W2001: 336; seen] In: Palestrina 1581; Doni 1640.
A cycle through the 8 modes, consisting of 5-voice settings of the first 8 stanzas of Petrarca’s canzone Vergine bella.
Madrigali spirituali [ID: 65; W2001: 337; seen] In: Palestrina 1594.
A cycle of 30 madrigals for 5 voices through the 8 modes, with 1 group of works for modes 3 and 4.
Magnificat octo tonum a 4 (even) [ID: 282; W2001: 340; not seen] In: Palestrina 1591.
A cycle of 8 Magnificats in the 8 tones.
Magnificat octo tonum a 4 (odd) [ID: 62; W2001: 341; seen] In: Palestrina 1591.
A cycle of 8 Magnificats in the 8 tones.
Magnificat à 4 (even) [ID: 127; W2001: 338; not seen] In: V-CVbav MS Capp. Giulia XV, 22.
A cycle of 8 Magnificats in the 8 tones, composed c. 1560.
Magnificat à 5-6 (even) [ID: 128; W2001: 339; not seen] In: V-CVbav MS Capp. Giulia XV, 22.
A cycle of 8 Magnificats in the 8 tones, composed c. 1560.
Offertoria totius anni [ID: 63; W2001: 342; seen] In: Palestrina 1593.
A cycle of 32 Offertories for 5 voices in the 8 modes.
Octi-Tonium [ID: 265; W2001: 343; seen] In: Panzau c. 1745.
A cycle of 16 fugues for organ, 2 in each tone.
Contrappunti [ID: 729; seen] In: D-B Slg Landsberg 214.
Incomplete cycle of 4-voice pieces in mode 1 (2 pieces), 2 (2 pieces), 3, 5 and 6.
Duetti [ID: 727; seen] In: D-B Slg Landsberg 214.
12 duets in the 12 modes, Glarean's numbering.
Examples à 4 [ID: 726; seen] In: D-B Slg Landsberg 214.
Twelve short examples of the 12 modes (Glarean's numbering) for 4 voices
Terzetti [ID: 728; seen] In: D-B Slg Landsberg 214.
12 terzets in the 12 modes, Glarean's numbering.
Fughe secondo l'ordine de Toni ecclestastici [ID: 664; not seen] In: Pasterwiz 1782.
Set of eight keyboard fugues in the eight psalm tone keys.
Falsibordoni [ID: 369; W2001: 344; not seen] In: Penna 1669.
21 falsibordoni for 4-5 voices, apparently forming a cycle through the 8 tones.
Preambuli e fughe [ID: 217; W2001: 346; seen] In: D-B Mus.ms. 1220.
A cycle of 87 organ works in the 8 tones, probably composed between 1720 and 1733 (the death of composer).
Canciones francesas [ID: 191; W2001: 347; not seen] In: Canciones c. 1701.
A cycle of 72 instrumental pieces printed on 2 staves, ordered in an incomplete 8-mode cycle (there are no works in mode 4). 62 pieces are reprinted from Philidor’s Suite de dances (Paris: Ballard, 1699).
Benedicamus Domino [ID: 523; not seen] In: D-Dl Mus.Löb.59.
Incomplete cycle of 4-voice Benedicamus Domino settings, lacking tones 5 and 6 but including tone 9.
Deutsche Magnificat auff die acht Tonos Musicalis [ID: 380; W2001: 348; not seen] In: Pinello di Ghirardi 1583.
A set of 20 Magnificats for 4-5 voices, apparently forming a modal cycle.
Missae [ID: 680; not seen] In: Pingirolo 1591.
Incomplete cycle consisting of 4 5-voice masses in modes 1, 2, 3? and 4 published in the Missarum liber primus. A hypothetical second volume may have contained masses for modes 5-8.
Fantasias por todos los tonos [ID: 84; W2001: 349; seen] In: Pisador 1552.
A cycle of 8 compositions for vihuela in the 8 modes.
Suonate [ID: 494; seen] In: Placuzzi 1667.
Cycle of 8 sonatas through the 8 psalm tone keys. The last 2 compositions in the source do not seem to belong to the cycle.
Essempi de Motetti [ID: 115; W2001: 350; seen] In: Pontio 1588.
7 duets in 7 modes (lacking mode 4) with transpositions of those in mode 1 and 2.
Essempi de’ Salmi [ID: 116; W2001: 351; seen] In: Pontio 1588.
8 duets in 8 psalm tone keys.
Magnificat [ID: 220; W2001: 352; not seen] In: Pontio 1584.
A cycle containing two Magnificats for 4 voices for each mode.
Falsi bordoni à 4 (i) [ID: 338; W2001: 353; seen] In: I-MOd MS Mus. VII.
A cycle of 8 pieces in the 8 tones.
Falsi bordoni à 4 (ii) [ID: 339; W2001: 354; seen] In: I-MOd MS Mus. VII.
A cycle of 8 pieces in the 8 tones.
Falsi bordoni à 4 (iii) [ID: 340; W2001: 355; seen] In: I-MOd MS Mus. VII.
A cycle of 8 pieces in the 8 tones.
Falsi bordoni à 4 (iv) [ID: 341; W2001: 356; seen] In: I-MOd MS Mus. VII.
A cycle of 8 pieces in the 8 tones.
Falsi bordoni à 4 (v) [ID: 342; W2001: 357; seen] In: I-MOd MS Mus. VII.
A cycle of 8 pieces in the 8 tones.
Falsi bordoni à 4 (vi) [ID: 343; W2001: 358; seen] In: I-MOd MS Mus. VII.
A cycle of 8 pieces in the 8 tones.
Falsi bordoni à 5 (i) [ID: 344; W2001: 359; seen] In: I-MOd MS Mus. VII.
A cycle of 8 pieces in the 8 tones.
Falsi bordoni à 5 (ii) [ID: 345; W2001: 360; seen] In: I-MOd MS Mus. VII.
A cycle of 8 pieces in the 8 tones.
Falsi bordoni à 5 (iii) [ID: 346; W2001: 361; seen] In: I-MOd MS Mus. VII.
A cycle of 8 pieces in the 8 tones.
Falsi bordoni à 5 (iv) [ID: 347; W2001: 362; seen] In: I-MOd MS Mus. VII.
A cycle of 8 pieces in the 8 tones.
Falsi bordoni à 6 [ID: 348; W2001: 363; seen] In: I-MOd MS Mus. VII.
A cycle of 8 pieces in the 8 tones.
Magnificat 8 vocum [ID: 193; W2001: 364; seen] In: I-Bc Q.33.
7 Magnificats in 8 modes (lacking mode 5).
Magnificat octo tonorum quatuor vocum parium [ID: 192; W2001: 365; seen] In: I-Bc Q.22.
8 Magnificats in 8 modes. Ascribed to Porta by Siro Cisilino in the introduction to the edition. The source has been dated c. 1550; therefore, if these Magnificats are indeed by Porta, they are among his earliest works.
Missae [ID: 66; W2001: 366; seen] In: Porta 1578.
6 4-part masses in modes 1-6. The preface of the source announces another publication with similar masses in modes 7-12, which is apparently lost.
Le vergini [ID: 67; W2001: 367; seen] In: Portinaro 1568.
A setting of Petrarca’s entire Vergine-canzona as an 8-mode cycle, for 6 voices.
Magnificat (organ) [ID: 68; W2001: 369; seen] In: Visby 1611.
A set of 8 organ Magnificats in 8 tones, composed c. 1610.
Magnificat octo vocum [ID: 69; W2001: 368; not seen] In: Praetorius 1602.
A cycle of 8 Magnificats for 8 voices (even verses).
Magnificat [ID: 219; W2001: 370; seen] In: Opus 1566.
Contains 24 Magnificats by Morales, Jacquet, Richafort, Tugdual, Senfl, Rener and anonymous composer(s). Many of these were apparently copied from cycles 383, 408 and 414.
Aliqui psalmi modulati ad falsum bordonem [ID: 297; W2001: 345; seen] In: Untraced.
A cycle of 8 psalms in the 8 tones in falsobordone style, written between c. 1570 and 1600 (the death of the composer). Several verses of each psalm are set to music.
Les douze modes à deux parties [ID: 222; W2001: 371; seen] In: Mersenne 1636.
A cycle of 12 airs for voice and continuo, one for each of the 12 modes in Zarlino’s new ordering.
Messes [ID: 70; W2001: 372; seen] In: Raison 1688.
An incomplete cycle of organ masses (which can also be used as Magnificats), in tones 1, 2, 3, 6 and 8, each mass consisting of more than 20 short pieces.
Dodecachordi vivi... exempla [ID: 156; W2001: 373; not seen] In: D-Rp A.R. 774.
Cycle of 144 compositions, 12 in each of Glarean’s modes. Includes works by Bertani, Bertrand, A. Ferrabosco, G. Ferretti, Handl, Harnisch, C. Hollander, Hoyoul, Kerle, Knöfel, Lassus, Lechner, Marenzio, Merulo, Monte, Phinot, Prenner, Raselius, Regnart, Striggio, Utendal, Vaet, Vinci, Wert, Zanotti, and anonymous.
Fugae (i) [ID: 248; W2001: 374; seen] In: Raselius 1591.
A cycle of canons for 2-3 voices in the 12 modes, 2 for each mode (one untransposed and one transposed).
Fugae (ii) [ID: 249; W2001: 375; seen] In: Raselius 1591.
6 canons for 3-6 voices, exemplifying mixture of the 12 modes. One work is by Lassus.
Magnificat ad omnes Dodecachordi Glareani modos [ID: 187; W2001: 376; not seen] In: Raselius 1594a.
Contains Magnificats for 4-8 voices by Lassus, Raselius and Sale in the 12 modes.
Teutscher Sprüche auff die Fürnemsten Järlichen Fest und Aposteltäge [ID: 291; W2001: 377; seen] In: Raselius 1595.
The second part of the collection (nos. 8/11-22) seems to form a modal cycle.
Teutscher Sprüche auss den Sontäglichen Evangeliis gezogen (i) [ID: 157; W2001: 378; seen] In: Raselius 1594b.
Nos. 1-16 of the collection form a cycle of gospel motets through the 12 modes; some modes have been exchanged.
Teutscher Sprüche auss den Sontäglichen Evangeliis gezogen (ii) [ID: 290; W2001: 379; seen] In: Raselius 1594b.
It is not entirely clear from the edition whether the numbers 30-53 of this source form a genuine cycle. All works have an original indication of the mode in the tenor.
Ricercari a quattro voci cantabili [ID: 707; not seen] In: Raval 1596.
Cycle consisting of 10 ricercars for 4 voices through modes 1-8 and 12. There are 2 pieces in mode 1: these are the only ones whose title contains the word 'ricercar'. Ricercars in modes 9 and 11 appear elsewhere in the source.
Magnificat [ID: 478; W2001: 380; not seen] In: Lost.
Lost magnificat cycle a 8-10. Written before 1599 (death of composer).
Mariae Canticum [ID: 393; W2001: 381; not seen] In: Reiner 1604.
A cycle of 8 Magnificats for 8 voices.
Psalmi poenitentiales [ID: 375; W2001: 382; not seen] In: Reiner 1586.
A cycle of 7 penitential psalms for 3 voices, in modes 1-7.
Breve ritratto delle sette feste solenni della B. Vergine [ID: 683; seen] In: Ancina 1599.
Cycle of 8 3-voice songs in the 8 modes, for the 7 feasts of Maria, followed by an epilogue.
Magnificat [ID: 271; W2001: 383; seen] In: Postremum 1544.
A cycle of 8 Magnificats in 8 modes for 4-5 voices (some sections for 2 or 3 voices), composed no later than c. 1520 (death of the composer). No. 8 sets all verses, the others only the the even verses.
Otto toni in falso bordone [ID: 175; W2001: 384; not seen] In: Ruffo 1586.
8 falsibordoni for 5 voices; only the quintus part survives.
Psalmi [ID: 279; W2001: 385; not seen] In: Vesperarum 1540.
Contains many psalms by a number of composers. They are not printed in modal order, but the index rearranges them according to the eight modes. Johann Walter’s psalm settings (cycle 470) are a “subcycle” of this cycle.
Tonorum psalmodiae [ID: 267; W2001: 386; seen] In: Rhau 1531.
9 four-part psalms in modes 1-8 and tonus peregrinus; the psalm-tone is in the superius.
Magnificat [ID: 216; W2001: 387; not seen] In: E-Tc Ms. 6.
Composed before 1571. Two magnificats in tones 1-4 each; pieces in 5-8 presumably lost.
Magnificat octo tonorum [ID: 667; not seen] In: Riccio 1579.
A set of Magnificats in the 8 tones, for 4-8 voices.
Esercizi per l'Accompagnamento [ID: 613; seen] In: Ristori c. 1770.
Cycle of 13 partimenti, consisting of basso continuo only) through the 8 psalm tone keys (?), with minor irregularities in the order of the tones.
Preludes et versets, dan les huit differents tons de l'orgue [ID: 510; seen] In: Robson c. 1764.
Cycle throught the 8 psalm tone keys, each consisting of a prelude and 6 verses, for organ. According to Grove, dated before 1768.
Dimostratione de’ dodici tuoni [ID: 117; W2001: 388; seen] In: Rodio 1609; Nanino c. 1610.
12 four-part pieces in 12 modes, with 14 transpositions (3 of mode 1), composed c. 1600.
Oito tons [ID: 72; W2001: 389; seen] In: Rodrigues Coelho 1620.
A cycle of 24 versets for voice and organ, 3 for each tone.
Outros oito tonos [ID: 73; W2001: 390; seen] In: Rodrigues Coelho 1620.
A cycle of 34 versets for organ, 4 for each tone (6 for tone 1).
Tentos [ID: 71; W2001: 391; seen] In: Rodrigues Coelho 1620.
24 4-part keyboard compositions, 3 for each mode. There is some influence of the psalm-tones: the works in mode 3 close on A, as does one of those in mode 5. There is also one work in “pure” mode 5.
Cantica per omnes tonos [ID: 394; W2001: 392; not seen] In: Roince 1603.
A set of 5-voice Magnificats in the 8 tones, composed in Piacenza in or before 1597 (the death of the composer).
Missas de todos tonos [ID: 479; W2001: 393; not seen] In: Romero de Ávila 1774.
A cycle of masses for 1 voice and basso continuo.
Madrigali [ID: 74; W2001: 394; seen] In: Rore 1542.
A cycle of 17 madrigals for 5 voices in the 8 modes.
Motetta [ID: 131; W2001: 395; seen] In: Rore 1545.
A cycle of 18 motets for 5 voices in the 8 modes; 1 work appears out of modal order.
Falsi bordoni [ID: 139; W2001: 396; not seen] In: Ruffo 1578.
9 falsibordoni for 5 voices, 1 in each of the 8 tones and 1 in the tonus perregrinus.
Magnificat brevi et aierosi [ID: 673; not seen] In: Ruffo 1578; Magnificat 1591-1.
Cycle of 8 Magnificats for 5 voices in the 5 tones, published in 1578
Magnificat octo tonorum [ID: 395; W2001: 397; not seen] In: Ruschardus 1604.
A set of 6-voice Magnificats through the 8 tones.
Missae [ID: 619; not seen] In: Ruschardus 1603; Ruschardus 1604.
Cycle of masses for 4 voices, probably in the 12 modes, published in 2 volumes.
Sub tuum praesidium [ID: 541; not seen] In: A-LA 850.
Incomplete cycle of 4 works in modes 5-8, written no later than 1757 (death of the composer).
Dixit... Sopra Tutti i Toni del Canto Ecclesiastico [ID: 636; not seen] In: D-MÜs SANT Hs 3459.
Psalm tone cycle for 4 voices and orchestra
Psalmi [ID: 644; not seen] In: I-Bc MS.MART.2.77.
Cycle of 8 psalm settings for 4 voices in the 8 tones
Intonationi e versetti [ID: 176; W2001: 398; seen] In: Sabbatini 1650.
A cycle consisting of 1 intonation and 1 verset for each of the 8 modes.
Magnificat omnitonum [ID: 355; W2001: 399; not seen] In: Sabino 1587.
A cycle of Magnificats for 5 voices in all tones.
Ricercari [ID: 75; W2001: 400; seen] In: Salvatore 1641.
A cycle of 8 ricercars in 8 modes.
Fantasías [ID: 3; W2001: 401; seen] In: Santa María 1565.
A cycle of 8 keyboard compositions for 4 voices, exemplifying the regular cadences of the modes.
Versetti per tutti i tuoni [ID: 639; not seen] In: B-Bc 26621.
Set of verses for organ, in the 8 tones.
Magnificat [ID: 689; not seen] In: E-ORIc 03.
Cycle of 16 Magnificats in the 8 tones, 2 for each tone, dated 1786. They are taken from the cycles of Guerrero and Victoria, with 2 additional compositions by Matías Navarro.
Magnificat per omnes tonos [ID: 398; W2001: 402; not seen] In: Savetta 1608.
A cycle of 8 Magnificats for 7-8 voices.
Missa omnium tonorum pro electione Regis Poloniae Casimiri [ID: 509; seen] In: Scacchi c. 1800.
Mass in 12 sections, forming a cycle through the 12 modes in traditional numbering, written for thet coronation of John II Casimir Vasa in 1648.
Magnificat [ID: 400; W2001: 403; not seen] In: Schedlich 1613.
A cycle of 8 Magnificats for 4 voices, only two of which survive
Magnificat [ID: 76; W2001: 404; seen] In: D-CZu (unknown signature).
8 organ Magnificats in the 8 tones, dated no later than 1663 (death of the composer). Each Magnificat consists of 4 verses.
Magnificat [ID: 77; W2001: 405; seen] In: Scheidt 1624.
A cycle of 9 organ Magnificats, each consisting of 6-8 verses, in tones 1-8 and the tonus peregrinus.
Octo Magnificat, secundum octo ecclesiasticos tonos [ID: 668; not seen] In: Scherer 1644.
Cycle of 4-voice Magnificats in the 8 tones.
Intonationes [ID: 480; W2001: 406; not seen] In: Scherer 1664.
A cycle of 32 intonations, 4 for each of the 8 modes.
Toccatae [ID: 481; W2001: 407; seen] In: Scherer 1664.
A cycle of 8 toccatas through the 8 modes.
Magnificat octo tonorum [ID: 669; not seen] In: Schiitgachero 1574.
Probably a cycle of 5-voice Magnificats in the 8 tones
Dodeci padovane et altretante gagliarde composte nelli dodeci modi [ID: 670; seen] In: Schuyt 1611.
A cycle of 12 pavan-galliard pairs for 6 instruments through the 12 modes (Glarean's numbering)
Magnificat [ID: 145; W2001: 408; not seen] In: Morales 1542; Postremum 1544.
A cycle of 9 Magnificats for 4 voices in the 8 tones, by Jacquet, Morales, Richafort and Tugdual. There are 2 works in tone 8; 2 more works appear out of modal order, at the end of the collection.
Ocho tonos de canto de organo [ID: 179; W2001: 409; seen] In: Villancicos 1556.
8 untexted duets for equal voices through the 8 modes. The duet in mode 3 ends on A.
Ambitus tonorum [ID: 239; W2001: 410; seen] In: Sebastian z Felsztyna 1517.
A cycle of 8 examples for 3 voices in the 8 modes, in note-against-note counterpoint.
Ricercari [ID: 482; W2001: 411; seen] In: Musica 1540.
A cycle of 13 ricercars through the four modal pairs. In the source, a number of works by other composers is inserted at different places, some but not all observing the cyclical ordering.
Falsibordoni (i) [ID: 363; W2001: 412; not seen] In: D-Mbs Mus. MS 52.
8 falsi bordoni for 4 voices, one in each of the 8 tones.
Falsibordoni (ii) [ID: 364; W2001: 413; not seen] In: D-Mbs Mus. MS 52.
A set of 16 4-part falsi bordoni, 2 in each of the 8 tones. The ascription to Senfl is not certain.
Magnificat octo tonorum [ID: 209; W2001: 414; seen] In: Senfl 1537.
8 settings of the even Magnificat verses for 4 voices (some verses are in 3 or 5 parts). Composed no later than around 1523.
Magnificat ad octo tonos [ID: 615; not seen] In: E-Zac C-3 Ms 12.
Cycle of 8 magnificats for 8 voices.
Masses [ID: 616; not seen] In: E-Zac [without shelfmark].
Set of 8 masses for 4 voices in the 8 modes, dated no later than 1759 (death of the composer)
Salmi passaggiati [ID: 144; W2001: 415; seen] In: Severi 1615.
9 psalms for solo voice, 1 for each of the 8 modes, and 1 for the tonus peregrinus.
Falsibordoni [ID: 160; W2001: 416; not seen] In: RegB C91.
Contains 11 falsibordoni for each of the 8 tones, 8 by Carolus Andreae, 2 by Orfeo Vecchi and 1 by Viadana.
Magnificat [ID: 532; not seen] In: I-REm Mus. Sacra 10.
Cycle of 8 Magnificats for 4 voices in the 8 tones.
Magnificat [ID: 195; W2001: 417; not seen] In: Soriano 1619.
16 Magnificats for 4 voices, probably a cycle of settings of the odd verses and one of the even verses.
Magnificat [ID: 78; W2001: 418; not seen] In: Speth 1693.
A cycle consisting of organ Magnificats in the 8 tones, each consisting of a number of verses.
Toccatas [ID: 483; W2001: 419; not seen] In: Speth 1693.
A cycle of 8 toccatas through the 8 tones.
Exempla [ID: 635; seen] In: Spiess 1745.
Series of examples of the 12 modes for keyboard, with separate examples for modes 1-6, followed by examples of the mixed modes for modes 7-12
Die Tugendsterne [ID: 221; W2001: 420; seen] In: Harsdörffer 1641-9.
A cycle through 7 modes (Dorian, Phrygian, Aeolian, Mixolydian, Lydian, Ionian, Hyperaeolian), containing a 3-voice symphonia and a song for each mode. There is no authentic-plagal distinction, and the sequence of the modes is unusual. The Hyperaeolian mode is on Bb instead of B, and is thus a transposition of the Lydian.
Gloria patri [ID: 533; not seen] In: I-BREd ChB 4.
Cycle of 9 Glori patri settings in the 8 tones, with 2 settings of tone 2.
Magnificat quatuor vocum super octo tonos [ID: 399; W2001: 421; seen] In: Stadlmayr 1608.
A cycle of 4-voice Magnificats through the 8 tones.
In Sanctissimae Viriginis Mariae Canticum modulationes [ID: 388; W2001: 422; not seen] In: Stivori 1598.
A cycle of 8 through-composed Magnificats for 8 voices.
Octo tonorum melodiae [ID: 2; W2001: 423; seen] In: Stoltzer c. 1554.
A cycle of 8 5-voice works through the 8 modes; the tenor of each work has a range of precisely the octave species of the mode, while at the same time it employs melodic patterns that are traditionally associated with the mode. Dated no later than 1526 (death of the composer)
Dui [ID: 725; seen] In: Strozzi 1683.
Twelve duets in the 12 modes (Glarean's numbering and names, with mode 7 labelled as Hypermixolydian)
Liber V-XIV Ecclesiasticarum cantionum [ID: 319; W2001: 428; not seen] In: Liber 1553-12; Liber 1553-13; Liber 1553-14; Liber 1553-15; Liber 1554-9; Liber 1555-8; Liber 1555-9; Liber 1557-3; Liber 1557-4.
A cycle of motets printed in 9 volumes. There are 2 volumes each for modes 1 and 2, 1 volume with works in both mode 3 and 4, and 1 volume for each of the remaining modes, but book 13, containing pieces in mode 7, is lost. There are many anomalies in the organisation of the collection.
Liber primus ecclesiasticarum cantionum [ID: 231; W2001: 424; not seen] In: Liber 1553-8.
A cycle of motets in the 8 modes.
Liber quartus ecclesiasticarum cantionum [ID: 234; W2001: 425; not seen] In: Liber 1554-8.
A cycle of motets in the 8 modes.
Liber secundus ecclesiasticarum cantionum [ID: 232; W2001: 426; not seen] In: Liber 1553-9.
A cycle of motets in the 8 modes.
Liber tertius ecclesiasticarum cantionum [ID: 233; W2001: 427; not seen] In: Liber 1553-10.
A cycle of motets in the 8 modes.
Premier livre des chansons à 3 [ID: 320; W2001: 429; not seen] In: Susato 1544.
Three-voice reductions of chansons for 4 voices by various composers.
Fantasien mit 3 Stimm der alle 8 Tonos [ID: 154; W2001: 430; not seen] In: Lost.
A cycle edited by Samuel Scheidt, c. 1630; lost.
Hymn Tunes [ID: 147; W2001: 431; seen] In: Parker 1567.
A cycle of 8 short hymn settings for 4 voices in the 8 modes.
Falsibordoni (i) [ID: 642; not seen] In: I-Rn Mss musicali 161.
Cyce of 24 falsi bordoni for 4-6 voices in the 8 tones. One is in 'mixtus tonus'.
Falsibordoni (ii) [ID: 643; not seen] In: I-Rn Mss musicali 161.
Cyce of falsibordoni for 4 voices in the 8 tones.
Magnificat [ID: 79; W2001: 432; seen] In: Titelouze 1626.
A cycle of 8 organ Magnificats in the 8 tones.
Cantiones ecclesiasticae à 4 [ID: 626; seen] In: Tonsor 1590.
Cycle of 14 4-voice motets through the 8 modes. One group or work represents modes 3 and 4.
Psalmi [ID: 628; seen] In: Tonsor 1590.
Cycle of 7 psalm tone settings for 4 or 5 voices. There is no composition for tone 5.
Sacrae cantiones [ID: 627; seen] In: Tonsor 1573.
Eight-mode cycle consisting of the first 20 pieces from the source. Division over the modes is unequal, and one group of works represents modes 3 and 4.
Selectae quaedam cantiones sacrae [ID: 625; seen] In: Tonsor 1570.
Eight-mode cycle of 16 sacred works for 5 voices. One group or work represents modes 3 and 4.
Missae [ID: 629; not seen] In: Torres y Martínez Bravo 1703.
Collection of 7 masses for 4-6 voices in modes 1-7, each linked to a different Marian mystery and with an explicit modal designation. The 8th mass in the collection is a Requiem outside the modal ordering. Cycle ID=515 is a variant of this cycle.
Cento versi [ID: 80; W2001: 433; seen] In: Trabaci 1615.
100 4-part versets for keyboard in 8 modes.
Ricercate (i) [ID: 6; W2001: 434; seen] In: Trabaci 1615; Trabaci 1603.
12 compositions for keyboard in 12 modes.
Ricercate (ii) [ID: 7; W2001: 435; seen] In: Trabaci 1615.
12 compositions for keyboard in 12 modes.
Magnificat omnitonum [ID: 386; W2001: 436; not seen] In: Tudino 1590.
A set of Magnificats for 4 and 8 voices in all tones.
Magnificat per octo tonos [ID: 196; W2001: 437; not seen] In: Utendal 1573.
A cycle of 8 Magnificats for 4 voices in the 8 tones.
Septem psalmi poenitentiales, adiunctis... orationibus... quinque, ad Dodecachordi modos duodecim [ID: 81; W2001: 438; seen] In: Nucius 1613; Beurhaus 1580; Hoffmann 1582; Dressler 1571; Raselius 1591; Freig 1582; Thüring 1624; Utendal 1570.
A collection of 7 penitential psalms and 5 biblical prayers for 4 voices, forming a cycle through the 12 modes.
Magnificat [ID: 92; W2001: 439; seen] In: D-Mbs Mus.ms. 82.
A cycle of 8 Magnificats for 4 voices in the 8 tones, composed in or before 1567 (the death of the composer).
Falsibordoni à 3 [ID: 360; W2001: 440; not seen] In: Valentini 1618.
8 falsi bordoni in the 8 tones.
Falsibordoni à 4 [ID: 361; W2001: 441; not seen] In: Valentini 1618.
8 falsi bordoni in the 8 tones.
Magnificat à 8 [ID: 518; not seen] In: E-Bbc M. 90.
Cycle of 8 Magnificats for 8 voices and bc, dated no later than 1747 (death of the composer)
Missae [ID: 484; W2001: 442; not seen] In: E-Bbc M. 1612 .
A cycle of 8 masses for 6-8 voices through the 8 modes.
Magnificat [ID: 180; W2001: 443; not seen] In: Varotto 1580; Magnificat 1591-1.
A set of 8 Magnificats for 5 voices, probably a cycle through the 8 tones.
Essempii delli Tuoni [ID: 113; W2001: 444; seen] In: Vecchi c. 1600.
A cycle of 12 4-part examples, one for each of the 12 modes; each example is given at its natural pitch and in at least one transposition. Dated no later than 1605 (death of the composer).
Falsibordoni [ID: 306; W2001: 445; not seen] In: D-Sl Cod. mus. I 2° 49.
A cycle of 24 falsi bordoni in the 8 tones. Dated no later than 1603 (death of the composer).
Falsibordoni figurati [ID: 197; W2001: 447; not seen] In: Vecchi 1600.
A set of falsibordoni in the 8 tones.
Falsibordoni à 5 [ID: 148; W2001: 446; not seen] In: Vecchi 1596.
A cycle of 16 5-voice falsi bordoni, 2 for each tone.
Magnificat à 5 (all verses) [ID: 411; W2001: 448; not seen] In: Vecchi 1603.
A cycle of 8 Magnificats for 5 voices (all verses).
Magnificat à 5 (even) [ID: 410; W2001: 449; not seen] In: Vecchi 1603.
A cycle of 8 Magnificats for 5 voices, even verses.
Magnificat à 5 (odd) [ID: 381; W2001: 450; not seen] In: Vecchi 1603.
A cycle of 8 Magnificats for 5 voices, odd verses.
Psalmi [ID: 307; W2001: 451; not seen] In: D-Sl Cod. mus. I 2° 50.
A cycle of pieces in 5 voices, 13 falsibordoni and a Gloria Patri for each of the 8 tones, and 6 falsibordoni and a Gloria Patri for the tonus peregrinus. Dated no later than 1603 (death of the composer).
Fabordon glosado [ID: 89; W2001: 452; seen] In: Venegas de Henestrosa 1557.
A cycle of 9 instrumental falsibordoni, 1 for each tone (2 for tone 8).
Fabordon llano [ID: 88; W2001: 453; seen] In: Venegas de Henestrosa 1557.
8 instrumental falsibordoni in the 8 tones.
Fantasias de vihuela [ID: 91; W2001: 454; seen] In: Venegas de Henestrosa 1557.
A cycle of 18 vihuela compositions in the 8 modes.
Tientos [ID: 90; W2001: 455; seen] In: Venegas de Henestrosa 1557.
A cycle of 22 keyboard compositions in the 8 modes.
Falsi Bordones super tonos [ID: 181; W2001: 456; not seen] In: Vespa 1589.
A cycle of 9 falsi bordoni for 5 voices.
18 Falsi Bordoni passeggiati [ID: 531; not seen] In: Viadana c. 1820.
If indeed a new cycle by Viadana, dated no later than 1627 (death of the composer)
Falsi bordoni a cinque voci [ID: 182; W2001: 457; not seen] In: RegB C91; Viadana 1596.
6 pieces for each of the 8 tones, all for 5 voices. Original edition 1596.
Falsi bordoni quatuor vocum [ID: 594; not seen] In: D-Mbs Mus.ms. 520.
Cycle of 9 4-voice settings (8 tones and In exitu) surviving in a Central European source.
Otto tuoni per falso bordone in tripla [ID: 183; W2001: 458; not seen] In: Viadana 1596.
9 falsi bordoni for 5 voices through the 8 tones.
Magnificat [ID: 121; W2001: 459; seen] In: Victoria 1581.
A cycle of 16 Magnificats for 4 voices in the 8 tones, 1 setting of the odd verses and one of the even in each tone.
Magnificat liber secundus [ID: 140; W2001: 460; not seen] In: Villena 1548.
A set of Magnificats for 4 voices in all the 8 tones.
Versetti sopra gli otto tuoni ecclesiastici [ID: 9; W2001: 461; seen] In: Intavolatura 1598.
A cycle of 16 versets for organ, 2 for each psalm-tone.
Magnificat [ID: 212; W2001: 463; seen] In: Vivanco 1607.
A cycle of Magnificats in all tones (odd verses).
Choral-Verbesserungen [ID: 736; seen] In: Vogler 1800.
Cycle of 7 'faulty' and chorrected chorales by Bach and others, in the 6 modes.
Canons [ID: 258; W2001: 464; seen] In: Vredeman 1618.
A cycle of 2-part canons, one for each of the 12 modes.
Canticum Beatae Mariae Virginis [ID: 397; W2001: 465; seen] In: Vulpius 1605.
25 Magnificats through the 8 tones, for 4-8 voices.
Praeambula octo tonorum pro organo vel clavicembalo [ID: 549; not seen] In: A-Sd M.N. 108.
Cycle of verses through the 8 psalm tone keys, dated no later than 1777 (death of the composer)
Fügen auff die acht Tonos à 2 [ID: 698; seen] In: D-LEu Thomaskirche Ms. 49/50.
An incomplete cycle consisting of 2-part canons, lacking items for modes 3 and 7. One canon is in a mixed mode. The cycle consists of the nos. 22, 3, 14, 9, and 23-27 of the edition. Modal order is irregular, with 3 items placed between the canons belonging to the 3-voice cycle. The attribution of nos. 24 and 25 to Walter is doubtful, according to the edition.
Fügen auff die acht Tonos à 3 (i) [ID: 272; W2001: 466; seen] In: D-LEu Thomaskirche Ms. 49/50.
A cycle consisting of 3-part canons, the nos. 1, 2, 4-8 and 10-11 of the edition. One work is in mixed modes; 2 2-part canons interrupt the cycle.
Fügen auff die acht Tonos à 3 (ii) [ID: 277; W2001: 467; seen] In: D-LEu Thomaskirche Ms. 49/50.
A cycle consisting of 3-part canons, the nos. 12, 13, 15, 16 and 18-21 of the edition. Two 2-part canons are inserted in the cycle (nos. 14 and 17).
Magnificat octo tonorum (i) [ID: 280; W2001: 468; seen] In: Vesperarum 1540.
The pieces are distributed over the whole print, and not in modal ordering. However, they appear as a cycle in the index of the source, as was probably the composer’s intention.
Magnificat octo tonorum (ii) [ID: 278; W2001: 469; seen] In: Walter 1557.
Set of Magnificats in the 8 tones.
Psalmi [ID: 281; W2001: 470; seen] In: Vesperarum 1540.
This cycle survives as a part of a cycle by Rhau (no. 385) but was probably composed as a separate entity.
Octo Toni in versibus Longioribus [ID: 714; not seen] In: D-BEU Mus-Ms 145.
Falsibordoni [ID: 366; W2001: 471; not seen] In: Zacharia 1594.
143 falsi bordoni for 4 voices in the 8 tones and the tonus peregrinus.
Canticum canticorum [ID: 485; W2001: 472; seen] In: Lost.
A cycle of 5-voice settings of the Song of Songs, through the 8 modes, probably never compleded. A number of works from this cycle were published in different sources, so that the original cyclical ordering is no longer apparent. Clearly, Zarlino intended to compose settings for each of the 8 chapters of the Song of Songs in the corresponding modes. Judd suggests that Zarlino abandoned the project after his reading of Glarean’s Dodecachordon and his adoption of the 12 mode system in the late 1540s.
Essempi [ID: 4; W2001: 473; seen] In: Zarlino 1573; Zarlino 1558.
12 duets in 12 modes; they are ordered in the traditional sequence in Zarlino 1558, and in Zarlino’s new system in Zarlino 1573.
Falsibordoni [ID: 293; W2001: 474; not seen] In: Zucchini 1615; RegB 354-56.
9 falsi bordoni in the 8 tones and the tonus peregrinus.
Omnitoni falsi bordoni [ID: 294; W2001: 475; not seen] In: Zucchini 1616.
A set of falsi bordoni in all tones.