Raymond Mase
Bicinia

• Published: 2020
• Pages: 44
• Publisher: The Brass Press
• Movements:
  • Anonymous (c. 1550), Tibi laudes decantabo (0'40)
    
  • Anonymous (c. 1550), In carne vale (1'20)
    
  • Anonymous (c. 1550), Ich seg adieu (1'10)
    
  • Josquin des Prés (1440-1521), Agnus Dei (1'30)
    
  • Josquin des Prés (1440-1521), Pleni sunt caeli (1')
    
  • Josquin des Prés (1440-1521), Agnus Dei (1')
    
  • Josquin des Prés (1440-1521), Canon (0'50)
    
  • Georg Rhaw (1488-1548), Quam pulchra es (1')
    
  • Jacob Obrecht (1450-1505), Qui cum patre (1'15)
    
  • Jobst von Brandt (1517-1570), Ach Gott, wem soll ich klagen (1'50)
    
  • Gregor Meyer (1525-1572), Hypolydischer Kanon in der Quinte (1'05)
    
  • Jacques Pelletier (1517-1582), Si mon malheur (1')
    
  • Heinrich Faber (1500-1552), Canon (1'05)
    
  • Antonio Troilo (15??-16??), Scherzo (1608) (1'35)
    
  • Antoine Barbe (1505-1564), Summi regis sponsa digna (1')
    
  • Francis Layolle (1492-1540), Les Bourguignons (c. 1539) (1'15)
    
  • Giuseppe Giamberti (1600-1663), Solfeggiamento (1')
    
  • Martin Agricola (1486-1556), De Profundis (1')
    
  • Anonymous (c. 1550), Cancionero de Uppsala, Primus tonus (1556) (1'40)
    
  • Anonymous (c. 1550), Cancionero de Uppsala, Secundus tonus (1556) (1'15)
    
  • Thomas Wythorpe (1528-1595), Affections strong that doe move us (1'23)
    
  • Giuseppe Giamberti (1600-1663), Cantilena de’ salti (1')
    
  • Giuseppe Giamberti (1600-1663), Cantilena (1'30)
    
  • Jacques Pelletier (1517-1582), Souvent amour (0'50)

About Bicinia

Bicinia, two-part music of the Renaissance and early Baroque, were pieces frequently used for teaching of counterpoint and style. For modern trumpeters, they are challenging and valuable resources in the training of rhythmic flexibility, imitation, and musical expression.

These editions include the addition of dynamics, articulations, and suggested tempi and style.