Compiled and edited byW. Gresham

The value of duets for teaching has long been established, and the pieces in this collection that predate 19th century traditional harmony provide another possibilityfor duet use. The simplicity of two-part Renaissance counterpoint has immediate appeal, but also provides a precise opportunity to focus on intonation, tone quality andattack. The duets often provide octaves and other open i ntervals for pitch adjustments as well as awareness of suspensions and cadential figures. W. Jonathan Gresham,Professor Emeritus of Northern Kentucky University, has compiled these thirty-two mel odies and adjusted them for the modern trumpet. For intermediate players. for duet use. The simplicity of two-part Renaissance counterpoint has immediate appeal, but also provides a precise opportunity to focus on intonation, tone quality and attack. The duets often provide octaves and other open intervals for pitch adjustments as well as awareness of suspensions and cadential figures. W. Jonathan Gresham, Professor Emeritus of Northern Kentucky University, has compiled these thirty-two melodies and adjusted them for the modern trumpet. For intermediate players.

Contents:

• “Josquin des Prez: Domini fili, Missa N’auray je jamais, 1514”
• “Josquin des Prez: Benedictus, Missa N’auray je jamais, 1514”
• “Antoine Bruhier: Benedictus, Missa Carminum, c.1510”
• “Jean Mouton: Pleni sunt coeli, Missa Alleluya, 1515”
• “Jean Mouton: Agnus Dei, Missa Alma redemptoris, 1516”
• “Jean Mouton: Benedictus, Missa Alma redemptoris, 1516”
• “Jean Mouton: Agnus Dei, Missa Alleluya, 1515”
• “Antoine de Fevin: Agnus Dei, Missa Mente tota, 1516”
• “Antoine de Fevin: Pleni sunt coeli, Missa Mente tota, 1516”
• “Antoine Brumel: Liber srciptus, Missa Pro defunctis, 1516”
• “Eustachio Romano: Musica Duorum No.20, Musica Duorum, 1521”
• “Antonius Divitis: Crucifixus, Missa Quem dicunt homines, 1522”
• “Antonius Divitis: Pleni sunt coeli, Missa Quem dicunt homines, 1522”
• “Antonio Gardane: Et Resurrexit, Il primo libro a due voci de diversi autori, 1543”
• “Antonius Barbe: Summi regis sponsa digna, Munich, Ms. 260, c.1550”
• “Pierre de la Rue: Agnus Dei, Munich Ms. 260, c.1550”
• “Anonymous: Se dire ie l’osoye don’t me vient, Munich, Ms. 260, c.1550”
• “Orlando di Lasso: Crucifixus, Missa Super Frere Thibault, 1570”
• “Orlando di Lasso: Benedictus, Missa Super Frere Thibault, 1570”
• “Pierre Certon: Domine Deus, Missa Sus le pont d’Avignon, 1558”
• “Pierre Certon: Et iterum, Missa Sus le pont d’Avignon, 1558”
• “Pierre Certon: Benedictus, Missa Sus le pont d’Avignon, 1558”
• “Pierre Certon: Agnus Dei, Missa Sus le pont d’Avignon, 1558”
• “Pierre Certon: Crucifixus, Missa Adiuva me, 1558”
• “Pierre Certon: Benedictus, Missa Adiuva me, 1558”
• “Pierre Certon: Agnus Dei, Missa Adiuva me, 1558”
• “Pierre Certon: Qui tollis, Missa Regum mundi, 1558”
• “Pierre Certon: Et Resurrexit, Missa Regum mundi, 1558”
• “Claude Goudimel: Pleni sunt coeli, Missa Audi filia, 1558”
• “Claude Goudimel: Pleni sunt coeli, Missa Tant plus ie metz, 1558”
• “Francesco Guami: Ricercar No.1, Ricercari a due voci, Venice, 1558”
• “Francesco Guami: Ricercar No.2, Ricercari a due voci, Venice, 1558”