Guide to Musical Examples in Grove Music Online in Oxford Music Online

Guide to Musical Examples in Grove Music Online

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Allemande

Adrian Le Roy: Almande from Premier livre de tablature de luth (Paris, 1551)
Allemana d'Amor, GB-Lbl Roy.App.75, f.44r. The manuscript has key signatures of one flat in the Altus and Tenor parts.
François de Chancy: Allemande pour luth from Mersenne: Harmonie Universelle, ii (1637), 88
Chambonnières: Allemande from Piéces de clavessin, ii (1670)
Allemandes by Froberger (c1681) and J.S. Bach (c1722)
Different Allemande textures exploited by Pachelbel

Anglican chant

Tallis
'Pretentious' Anglican chant of the type deplored by Rimbault, by J.S. Smith

Answer

Bass answer to alto entry, Bach: Das wohltemperirte Clavier, i, Fugue 16, 12–14
Subject and tonal answer, Bach: Das wohltemperirte Clavier, ii, Fugue 7, 1–12
Subject and answer, J.S. Bach: Das wohltemperirte Clavier, i, Fugue 8, opening bars

Antecedent and consequent
Mozart: Quartet in B♭ k458, theme of finale

Arabesque Arabesque created through rapid harmonic change, Chopin: Nocturne, op.9 no.2, 12–14

Arsis, thesis

Displaced fugue subject not constituting an entry 'per arsin et thesin', Bach: Das wohltemperirte Clavier, i, Fugue 1
Entrance of a fugue subject 'per arsin et thesin', Bach: Das wohltemperirte Clavier, ii, Fugue 17, 34–38

Augmented sixth chord
Augmented 6th chords and their resolutions

Bass (i)

A cadence on E, as described by Pietro Aaron in Thoscanello de la musica (1529/R)
Bach: Brandenburg Concerto no.2, 2nd movt
Haydn: String Quartet in C, op.50 no.2, finale
Mozart: Piano Trio in G k486, finale
Chopin: Ballade no.3 in A♭ op.47

Binary form

Inversion of parts disguising a recapitulation in binary form, Bach: Two-part Invention no.6
Binary form with a recapitulation in the dominant, Bach: Das wohltemperirte Clavier, i, Prelude 9
Rounded binary form, Bach: Das wohltemperirte Clavier, i, Prelude 5

Bolero

Early bolero rhythms
Cinquillo rhythm
Tresillo rhythm
Ravel: Bolero (1928), recurrent underlying rhythm

Bourrée

Pécour: Recüeil de dances (Paris, 1700), Bourée, pp.1 and 2
J.-B. Lully: Le bourgeois gentilhomme, Act 1 (dancing lesson)
Gottlieb Muffat: Componimenti musicali (1690)

Bridge passage
Mozart: Sonata, C, k545, exposition, showing subjects, bridge passage and codetta

Cadence

Resolutions of the 'characteristic dissonance' (Rameau)
Common endings in note-against-note organum
Bach: Chorale no.59 'Herzliebster Jesu'
Palestrina: Jubilate Deo omnis terra (last four bars)
Bach: Brandenburg Concerto no.3 in G, 'slow movt'
Handel: Fugue in B minor for organ (last seven bars)
Medial cadences
Beethoven: Symphony no.1, 1st movt
Common three-part endings in 14th-century polyphony
Cadence on E (16th century)
Strauss: Don Quixote
Haydn: String Quartet in C op.74 no.1, 1st movt
Mozart: Symphony in C k551, 3rd movt, Trio
Beethoven: Sonata in E♭ op.81a, 1st movt
Cadences with a leap in the contratenor part (15th century)

Cakewalk
Debussy: 'Golliwog's Cakewalk', Children's Corner, 10–25

Canon
Canonic passage, Bach: Two-part Invention no.2, 1–9

Cantus firmus

Substitute clausula on Mulierum from I-Fl Plut.29.1, f.164
Varied paraphrase of a plainchant melody, Du Fay, Kyrie I from Missa 'Ave regina celorum'. From Guillelmi Dufay opera omnia, ed. H. Besseler, CMM, i/3 (1951), no.91.
Permeation of the cantus firmus through all voices, Josquin, Kyrie I from Missa 'Pange lingua'. From Werken van Josquin des Prez: Missen, ed. A. Smijers, iv: 33 (Amsterdam, 1952/R)

Chaconne

Chaconne bass patterns (all transposed to C and reduced to equivalent note values)
Passacaglia bass patterns (transposed to D and reduced to equivalent note values)

Clausula
Clausula Regnat, D-W 677, f.59, for use in the Alleluia verse Hodie Maria

Codetta

Codetta after the initial subject entry of a fugue, Bach: Das wohltemperirte Clavier, i, Fugue 7, 1–3
Mozart: Sonata, C, k545, exposition, showing subjects, bridge passage and codetta
Episode between two exposition entries, Bach: Das wohltemperirte Clavier, i, Fugue 14, 8–15
Fugal codetta, Bach: Das wohltemperirte Clavier, ii, Fugue 8, 3–7

Color
Melodic elaboration by sonus ordinatus (Johannes de Garlandia)

Conductus

Syllabic declamation in the Aquitanian song Resonet, intonet
Melismatic declamation in the Aquitanian song Letabundi iubilemus
Syllabic (a) and note against note (b) polyphony in Aquitanian song
Octosyllabic verse with an antepenultimate stress, set in the 1st mode
Six syllable verse with an antepenultimate stress, set in the 4th mode
Six syllable verse with an antepenultimate stress, set in the 5th mode
Repetitions governing the internal structure of a melisma: Seminavit Grecia, second strophe, conclusion
Melisma built on quasi-canonic, continuous repetition: Rex eterne glorie

Consecutive fifths

Consecutive intervals
13th-century Goliard song (Bamberg codex, f.14v)
Ciconia: Et in terra pax (c1400)
Schenker: 'Die freie Satz', figs.51–2
Haydn: Quartet in C op.9 no.1, Adagio
Mozart: Violin Sonata in A k526, Presto
Schumann: Romance in B♭ minor op.28 no.1
Mozart: Sextet 'Sola, sola in buio loco' from Don Giovanni violin and bass parts only
'Mozart' fifths and their avoidance
Beethoven: Quartet in E♭ op.74, first movt

Contredanse

Rhythmic features of the French contredanse
Cotillons subsumed in the contredanse genre
Contredanse rhythms c1750–70
Contredanse in Mozart
'Reel' rhythm used in Beethoven: 12 Contredanses for orchestra (1802)

Counterpoint

Movement from an imperfect to a perfect consonance with one part moving by a semitone, from Marchetto da Padova (c1318)

Differing methods of composition from two counterpoint treatises

3rds serving as a bridge between unison and 5th, Alleluya. Altissimus (I-Fn Palat. 472, f.15vb)

Parallel 5ths possibly permitted by analogy to fauxbourdon technique, Pierre de LaRue: Missa de beata virgine

Formulae for stepwise discant and tenor progressions to the final note, Johannes Cochlaeus: Tetrachordum musices (Nuremberg, 1511, f. F)

Patterns in which two parts run in similar imperfect consonances while a third has complementary notes, from Guilielmus Monachus (c1480)

Examples of the correct use of dissonance, according to rhythmic and melodic position, Johannes Tinctoris: Salve martyr virgoque

Examples of dissonance treatment, from Gioseffo Zarlino: Le istitutioni harmoniche

Two treatments of dissonance not catalogued by Zarlino

Vincenzo Galilei's innovations in the treatment of dissonances (1587–91)

The transposition of parts in contrapunto doppio, from Zarlino (iii, 56)

'Nota cambiata' (a), after Berardi (1689); 'Fux's appoggiatura' (b), after Jeppesen (1925)

Downward leap of a dissonant suspension from a 7th to a 3rd

The 7th as a chordal dissonance (a), and a suspension (b)

Recitative (a) reduced in order to elucidate its free style as a paraphrase of strict counterpoint (b), after Bernhard (c1657)

Motivic counterpoint (b) evolved by Kirnberger (1771–9) from a chorale with continuo accompaniment (a)

J.S. Bach: D minor Invention

Irregular dissonances overshadowed through the use of formulaic melodic figures, J.S. Bach: French Suite no.6, Bourrée

Chromatic chain of 6ths and 7ths (a) reduced to a diatonic model (b), J.S. Bach: Musical Offering, trio sonata, 2nd movt

Countersubject
Complete entry of the countersubject without the subject, Bach: Das wohltemperirte Clavier, i, Fugue 11, 9–21

Courante

Typical hop–step pattern of the corrente, C. Negri: Nuove inventioni di balli, 1604
Four sottopiedi fitted into a corrente
G. Frescobaldi: Il secondo libro di toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti et altre partite, 1627
A. Corelli: Sonata for 2 violins and continuo, op.4 no.2
J.S. Bach: Partita no.5 in G major
L. Pécour: La Bourgogne (Recüeil de dances, 1700, p.43)
R. Ballard: Premier livre d'intabulations pour la luth (1611)
J.-C. de Chambonnières: Pièces de clavessin (1670)
J.S. Bach: Partita no.4 in D major

Cross-accent
Beethoven: Sonata in G major op.31 no.1, 1st movt

Cyprus: medieval polyphony
Tenor of mass cycle (1st section), I-Tn J.II.9

Dies irae
LU, 1810

Diminished seventh chord

Diminished 7th chord on G sharp, resolving in (a) the minor; (b) the major mode
Diminished 7th chords and their resolutions

Discant

Two-part 'punctus contra punctum' in discant polyphony
Discant featuring a tenor in a rational rhythmic arrangement
Discant featuring voice-exchange, retrogression and other techniques
English three-part discant with parts combined to form harmony
Rhythmic diversity in late 14th-century Ars Subtilior discant: En un vergier
From Leonel Power's treatise on discant, first half of the 15th century, GB-Lbl Lansdowne 763, f.108v, first example
English note-against-note discant with the cantus firmus in the middle voice, GB-WO Add.68 (no.85 in Dittmer's edn., MSD, ii, 1957)
English discant with the cantus firmus in the middle voice, and rhythmically livelier outer voices, GB-Lbl Add.57950 (CMM, xlvi, 1969–73, no.135)

Double fugue

Triple fugue, Bach: Das wohltemperirte Clavier, ii, Fugue 14, 1–41
Double fugue, Beethoven: Sonata, op.106 'Hammerklavier', last movt, 256–88

Early Latin secular song

Boethius: De consolatione Philosophiae (metrum iv, 7), as set in the Dialogus de musica formerly attributed to Odo of Cluny
12th-century Latin secular song from Germany
Latin secular song of the late 10th century
Late 12th-century planctus from the Notre Dame conductus

Entry
Fugue with 'no final entry', Bach: Das wohltemperirte Clavier, i, Fugue 5, 15–29

Episode

Undifferentiated passage prolonging a fugal entry, Bach: Das wohltemperirte Clavier, i, Fugue 8, 27–36
Cadential episode, Bach: Das wohltemperirte Clavier, i, 6, 17–21
Introduction of new material in an episode, followed by a cadential passage, Bach: Das wohltemperirte Clavier, i, Fugue 13, 5–12
Episode between two exposition entries, Bach: Das wohltemperirte Clavier, i, Fugue 14, 8–15
Cadential episode followed by a development, Bach: Das wohltemperirte Clavier, i, Fugue 3, 19–25
Complete entry of the countersubject without the subject, Bach: Das wohltemperirte Clavier, i, Fugue 11, 9–21
Episodic development of subject and countersubject, Bach: Das wohltemperirte Clavier, i, Fugue 2, 7–13
Episodic link passage between two (stretto) entries in a fugue, Bach: Das wohltemperirte Clavier, ii, Fugue 22, 27–34

Exposition

Exposition of a fugue in two parts, Bach: Das wohltemperirte Clavier, i, Fugue 10, 1–5
Mozart: Sonata, C, k545, exposition, showing subjects, bridge passage and codetta

Faburden

English pseudo-faburden with the notes taken from chant marked, GB-Lbl Sloane 1210, f.1
Faburden harmonization according to the rules of Wylde's Anonymous
Faburden with chant in the upper parts, from Eterne rex altissime, GB-Lbl C.52.b.21, f.188r

False relation

False relations (a) betwen two notes of the same chord; (b) between different parts of adjacent chords; (c) of a tritone between two notes in adjacent chords
Gesualdo: Dolcissima mia vita (Venice, 1611)

Falsobordone
Tone VII, P-Cug M.12 (c1500; crosses mark the cantus firmus)

Fauxbourdon

Realization of Du Fay: Vos qui secuti estis
Realization of Johannes de Lymburgia: Regina celi letare
Fauxbourdon with contratenor bassus replacing contratenor altus, from Antonius Janue: Gloria laus
Three- and four-voice interpretations of fauxbourdon (from Trumble, 1959)

Feminine ending
Examples of feminine endings, from H.C. Koch: 'Von der Beschaffenheit der melodischen Theile', Versuch einer Anleitung zur Composition, ii (Leipzig, 1787)

Flourish
'Flourish in C fa ut Natural', Select Lessons for the Violin (London, 1702)

Fughetta
Schumann: 'Kleine Fuge', Album für die Jugend

Fugue

Fugue in C minor from Das wohltemperirte Clavier (the '48') book 1
Monothematic fugue with no prominent countersubject, Bach: Das wohltemperirte Clavier, ii, Fugue 3
Episodic development of subject and countersubject, Bach: Das wohltemperirte Clavier, i, Fugue 2, 7–13
Fugue with 'no final entry', Bach: Das wohltemperirte Clavier, i, Fugue 5, 15–29

Gallarda
Duple-metre gallarda by Juan Cabanilles

Galliard

Gaillarde appellée Antoinette from T. Arbeau: Orchésographie (1588)
from P. Attaingnant, ed.: Quatorze gaillardes neuf pavennes (1531)
The use of hemiola in the galliard style, Dowland: Can she excuse (1597)

Gavotte:

Praetorius: Gavotte II, Terpsichore (1612)
Two 'national' gavottes, J.H. Schmelzer: Ballet (DTÖ, lv, 1921/R)
La gavotte de Seaux par M Balon (XIIe Recüeil de danses pour l'année 1714, Paris, F-Po)
J.S. Bach: Gavotte II from English Suite no.6 in D minor

German dance

G.B. Gherardi: 14 Cotillons … and Allemandes (1767–70)
Rhythmic motifs characteristic of the German Dance

Gigue (i)

Typical 17th-century English jigs
D'Anglebert: Gigue from Pièces de clavecin, 1689
Lully: Gigue from Roland as choreographed by Raoul Feuillet, Recüeil de dances (Paris, 1700), 8
A. Corelli: Giga from op.5 no.9 (1700)
Contrapuntal gigues, J.S. Bach

Ground

The modes and chord sequences of the Italian Renaissance dance style (c1500–1650)
A structure using the chord sequence of ex.1(c)
Italian Baroque grounds
German Baroque grounds
English Baroque grounds
20th-century grounds
20th-century grounds

Habanera
Rhythmic ostinato used in the habanera

Hemiola
Now make we mirthë, MB, iv (1952), no.9

Hidden fifths, hidden octaves
Hidden intervals in four-part counterpoint

Hocket

Examples of hocket technique brought about by Perotinus
Further refinements of hocket technique
Hocketing in the two lowest voices of a four-part English motet, GB-Onc 362, f.85v; GB-Lbl Add.24198, f.1v: two excerpts
Quasi-variational use of hocketing, Conductus, Veri vitis; D-W 628, f.136 (127); E-Mn 20486, f.36; I-Fl Plut.29.1, f.270: two excerpts
Hocketing transformed into imitative antiphony, Motet, Cesaris: A virtutis/Ergo beata (signat)/Benedicta/contratenor

Homophony

Tallis: If ye love me (c1549)
Chopin: Nocturne in E, op.62 no.2 (1846)

'Horn' fifths
Mozart: Duo in G k423, finale

Hornpipe (ii)

Mr. Beveridge's Maggot, John Playford: Dancing Master, 9/1695
The College Hornpipe, W. Chappell: Popular Music of the Olden Time, 1855–9

Hymn

B. Stäblein, ed., MMMA, i, no.7
B. Stäblein, ed., MMMA, i, no.56
Corteccia: Veni creator spiritus, verse 6
(F-APT 16bis)
Du Fay: Conditor alme siderum, verse 2
Veni Redemptor gentium, verse 2 (I-TRmp 89, 303v–304)
B. Stäblein, ed., MMMA, i, no.126
A. Durán, R. Moragas and J. Villareal, eds., Hymnarium oscense, ii, 113
C. Waddell, ed., The Twelfth-Century Cistercian Hymnal, ii, 101

Imitation
Close imitation between two parts, Bach: Two-part Invention no.1, 15–19

Inganno (i)
Inganno, as illustrated by Artusi, 1603

In Nomine

Cantus firmus to Taverner's Missa Gloria tibi Trinitas: the antiphon sung at first Vespers on Trinity Sunday in the Sarum rite
Two phrases taken from Taverner's In Nomine used by subsequent composers
Parsons: In Nomine, opening
Elements of an instrumental style in two In Nomines by Tye: 'Saye so' (a) and 'Crye' (b)

In Seculum
F. Ludwig: Repertorium M13

Isorhythm
Machaut: Fons tocius/O livoris/Fera pessima, first three (of nine) taleas (I, II, III) to two color statements (C1, C2). Consistent isorhythm in upper parts across talea joins are shown by broken square brackets.

Inversion

The three positions of the C major triad
The four positions of a 7th chord
Bach: Die Kunst der Fuge
Inversion of a 12-note set
Inversion of parts disguising a recapitulation in binary form, Bach: Two-part Invention no.6

Invertible counterpoint

Counterpoint inverted successfully at the octave and unsuccessfully at the 10th
Counterpoint inverted successfully at the 10th

Isomelism

Du Fay: Rite majorem (ed. Besseler)
Du Fay: Fulgens iubar (ed. Besseler)

Landini cadence

A Landini cadence
A Landini cadence, taken from Landini
A Landini cadence, taken from Landini
A Landini cadence, taken from Binchois
A Landini cadence, taken from Binchois
A Landini cadence, taken from Binchois

Leitmotif

'Nature motif', Wagner: Das Rheingold
Motif heard at the first appearance of castle Valhalla, Wagner: Das Rheingold
Exx.1 and 2 combined in Die Walküre, Act 2, to illustrate the suffering of Wotan
Motif of the Rhinemaidens, Wagner: Das Rheingold
Recurrence of ex.4 in Götterdämmerung, Act 1

L'homme armé
L'homme armé melody, I-Nn VI E 40

Madrigal
Giovanni da Cascia: Agnel son bianco, beginning of the first line, the second line, and the beginning and end of the ritornello

March

Swabian drum-call
French drum-call (T. Arbeau: Orchésographie, 1588)
Swiss drum-call (Arbeau)
Triple drum-call (Arbeau)
Philidor l'aîné: March La retraite, Air for the oboes
Lully: March La générale, Air for the oboes

Masque

Opening of Alfonso Ferrabosco (ii): 'So Beauty on the waters stood'. Ben Jonson's Masque of Beauty (1608). Song printed in Ferrabosco's Ayres (1609)
from Alfonso Ferrabosco (ii): 'Yes, were the loves', Ben Jonson's Masque of Beauty (1608). Song printed in Ferrabosco's Ayres (1609)
from Alfonso Ferrabosco (ii): 'How near to good', Ben Jonson's Love freed from Ignorance and Folly (1611), GB-Ob Tenbury/1018
'The 2nd of the Temple', GB-Lbl Add.10444, no.40
from 'The Second Witches Dance', Ben Jonson's The Masque of Queens (1609); ?Robert Johnson, GB-Lbl Abb.10444, no.26
from Locke: Cupid and Death (1659)

Mazurka

Basic mazurka rhythm
Characteristic mazurka rhythms
Influence of traditional instrumental style and texture, Chopin: Mazurka op.68 no.3
Mazurka rhythm combined with goral (highland) music, Szymanowski: op.50 no.1

Minuet

Minuet, from the Anna Magdalena notebook, no.36
Lully: Entr'acte d'Oedipe (1664), Menuet des Thébains
Handel: Rodelinda (1725), menuet from the overture

Modulation (i)
Mozart: Piano Sonata in C major, k545

Monothematic
Monothematic fugue with no prominent counter-subject, Bach: Das wohltemperirte Clavier, ii, Fugue 3

Motet

13-century French motet
Early tenor rhythmic patterns
Two-voice French motets of the mid-13th century
Motet originally composed in relatively slow modes (a) converted to faster rhythms (b)
Rhythmic modality dissolved through ornamentation, D-Bas lit.115, no.36
Early three-voice double motet, I-Fl Plut.29.1
Pes of GB-Ob no.10
Machaut tenors
Power: Ave regina celorum
Du Fay: Ave regina celorum (ii)
Du Fay: Ave regina celorum (iii)
Weerbeke: Ave regina caelorum
Josquin: Ave Maria, gratis plena
Ex.14 (continuation)
Josquin: Miserere mei, Deus
Gombert: Media vita

Motif

Beethoven: Piano Sonata in E op.109, opening
Wagner: Das Rheingold, scene iii, Nibelungs' motif

Ninth chord
Ninth chords: (a) three examples; (b) with an appoggiatura; (c) with notes omitted; (d) in wider spacing

Non-harmonic note

Passing notes
Anticipations
Auxiliaries
Echappée and cambiata
Appoggiaturas

Non-quartal harmony
Du Fay: Du tout m'estoie, c1450

Nota cambiata

Palestrina: Adjuro vos, Liber IV Motettorum
Du Fay: Missa Sancti Jacobi, Kyrie
Note cambiate

Off-beat
Liszt: Piano Sonata

Ostinato

Double bells accompanying a chant of the Ngbaka of Central Africa
Rhythmic ostinato on a single pitch, Jolivet: Cinq danses rituelles, no.1 (1939)
Rhythmic ostinato on non-repeating pitches, Purcell: 'The pale and the purple rose'
Melodic phrase including the repetition of the rhythmic structure, Purcell: 'A prince of glorious race'
Ostinato rhythm applied to chords with no harmonic function, Ligeti: Hungarian Rock (1978)
Ostinato pattern incorporating changes of register, Messiaen: Trois petites liturgies de la Présence Divine, no.3 (1944)
Vocal overlap masking the link between two ostinato statements, Purcell: O solitude

Part-crossing
Avoidance of consecutive intervals through part-crossing

Passacaglia
Passacaglia bass patterns (all transposed to D and reduced to equivalent note values)

Passamezzo

Rosseto: Passemeso (Hans Gerle: Eyn newes sehr künstlichs Lautenbuch, 1552)
Pass'e mezzo, US-Laum 51/1

Passepied

M. Praetorius: from Terpsichore (1612)
F. Couperin: from Premier livre de pièces de clavecin, 2e ordre
J.S. Bach: Orchestral Suite in C major bwv1066

Passion

St John Passion, F-RS, 258 (12th century)
Exordium, St Luke Passion, GB-Lbl Eg.3307
Harburg MS, D-HR ii.lat.2.2⁰6
St John Passion, I-Moe α.M.1.12
Longueval: Passion
Gasparo Alberti: St John Passion
Paolo Aretino: St John Passion
Matthew Passion, E-MA
Walter: St Matthew Passion

Pavan

Elaborations for keyboard (b and c) from a pavan (a)
Pavan texture elaborated contrapuntally, Dublin Virginal Manuscript (IRL-Dtc, c1570)

Pedal point

Pedal point emphasising the tonic, Bach: Das wohltemperirte Clavier, i, Fugue 2, 28–end
Pedal point as an elaboration of the dominant, Bach: Das wohltemperirte Clavier, i, Prelude 1, 24–32

Pentatonic

Weber: Turandot, end of theme
Chopin: Krakowiak
Liszt: Kyrie from Missa Choralis, alto line
Debussy: Nuages
African-American spiritual

Polka

Early polka rhythms
Polka rhythms with upbeats, after 1850
Early texted polka

Polonaise

Characteristic polonaise rhythm
'Wżłobie leży' (melody line)
Rhetorical use of the polonaise character, W.F. Bach

Polska
'Nackans polska'

Psalm interlude
S.S. Wesley: psalm interlude for the tune 'St Mary'

Psalmody (ii)

Anthem, Jeremiah Clarke: Praise the Lord, O my soul
Anonymous anthem, Hear my pray'r, O Lord; John and James Green: A Book of Psalmody (London, 2/1713)
James Green: O God my heart is ready; John and James Green: A Collection of Choice Psalm-Tunes (London, 3/1715)
Fuging-tune, set to Psalm xci.1, 2, 9, 10; William East: The Voice of Melody (Waltham, 2/1750)
Henry Heron: An anthem Sung be the Charity Children of Lime Str[ee]t Ward; William Gawler: Harmonia sacra (London, 1781)

Psalms, metrical

Loys Bourgeois' setting of Psalm cxxx in imitative style, from Le premier livre des pseaulmes (Lyons, 1547)
The openings of Goudimel's three settings of Psalm i
Pevernage's setting of Psalm xxxiii, from Chansons d'Andre Pevernage, livre premier (Antwerp, 1589)
The openings of two psalm motets by Sweelinck, from Cinquante pseaumes de David (Amsterdam, 1604)
Psalm l, first version (Whittingham), to the tune Frost no.69 (from the French psalter). Source: 1558 psalm book
Psalm v (Stenhold), to the tune Frost no.20. Source: 1556 psalm book
Psalm viii (Sternhold), to the tune Frost no.19. Source: East's Psalmes (1592), harmonies omitted
Psalm xxxvi (New Version), vv.5–10, to the tune 'Wareham' by William Knapp (tenor part of a four-part setting in Knapp's A Sett of New Psalm Tunes, 1738)
Psalm xxv, to the tune 'Southwell' (Frost no.45), from A New and Easie Method (1686). (The plain version is given in up-stemmed notes.)
'New Tune' (up-stemmed), from Playford's Introduction (1658 edn) (Frost no.25) and 'Oxford' (down-stemmed), from Ravenscroft's Psalmes (1621) (Frost no.121)
'The tune of the 25 Psalm' (Frost no.45), from Playford's Musick's Hand-maide (RISM 1663⁷); see also ex.14
'Southwell tune', from The Psalms by Dr. Blow Set full for the Organ (c1731) (Frost no.45)
Psalm cxiii, to the tune Frost no.125, in a five-part setting by Cosyn (1585)
Psalm c, to the tune Frost no.114, set by W. Parsons in Day's The Whole Psalmes (RISM 1563⁸)
Psalm cxlvi (Hopkins), to the tune Frost no.172a, set by J. Farmer in East's Psalmes (1592)
Psalm xlvii, to the tune 'London New' (Frost no.222), set by Playford in his Psalms (1677)
Psalm lxxxi from the 1564 psalter; text by Pont
'Common'
Psalm c from the 1635 psalter
'Martyrs'
'Desert', first two lines
'Kilmarnock'
'Dunfermline': 'faux-bourdon' setting in the 1929 psalter
Peter Valton (c1740–84): 'St Peters', in Eckhard's book of 1809, where it is allocated to 'Psalm 46' – i.e. Psalm cl (New Version), v.1 of which is underlaid here.
'Low Dutch Tune', from the Bay Psalm Book (1698)
'Southwel New Tune', from Walter (1721)
'136 Psalm Tune', from Johnston's tune supplement to Tate and Brady's New Version (1755), here underlaid with the first verse of Psalm cxxxvi

Recapitulation
Inversion of parts disguising a recapitulation in binary form, Bach: Two-part Invention no.6

Reel
Johnnie made a wedding o't

Register:

Mozart: 'Haffner' Symphony k385, opening

Rigaudon

Le rigaudon de la paix, dance by Feuillet (Paris, 1700)
Campra: L'Europe galante (1697), Act scene iii
Rameau: Hippolyte and Aricie (1733), Act 3 scene viii
Purcell: Musick's Hand-Maid, pt 2, Rigadoon
Muffat: Componimento musicale (1726)

Rondeau (i)

Adam de la Halle: A Dieu commant amouretes
Palindromic form illustrating a rondeau text, Machaut: Ma fin est mon commencement/Et mon commencement ma fin, 1390s, first and last four bars only
Binchois: Triste plaisir et doulereuse joie

Saltarello

Saltarello, GB-Lbl Add.29987
Domenico da Piacenza: Verçepe (F-Pn, fonds it.972.13)
Passamezzo and saltarello from Giacomo Gorzanis: Intabolatura di liuto, ii (1562)

Sarabande

The early zarabanda
Sanseverino: zarabanda for guitar (1620)
Praetorius: La sarabande (1612), outer voices
Sarabande rhythms
Girolamo Fantini: Sarabanda detta del Zozzi from Modo per imparare a sonaire di tromba (Frankfurt, 1638)
G.M. Bononcini: Arie, correnti, gighe, & allemande (Bologna, 1671)
Sarabanda, opening section, F-Pn Vm⁷741

Scale

Natural minor scale
Melodic minor scale
Harmonic minor scale
Ascending chromatic scale

Semitone

Beethoven: Sonata in E♭, op.31 no.3, first movt
Schumann: Traumeswirren, op.12 no.7
Effect of context on physically equal semitones

Serialism

The first two forms of the row heard in Schoenberg's Variations for Orchestra op.31 (1928)
Row built from a succession of 5ths, Berg: Lyric Suite (1926), b. 1
All-interval series produced by reordering ex.3 within its two hexachords, Lyric Suite, bb. 2–4
Series produced through cylic permutation of ex.4, Lyric Suite, bb.7–9
Series generated by reordering the hexachords of ex.3 so that interval size is minimal, Lyric Suite, b.33
Symmetrical series, Webern: Str Qt op.28 (1938)
Series as heard by all four instruments, Babbitt: Second Str Qt (1954)
Series heard on first violin and viola, related to ex.9 by inversional hexachordal combinatoriality, Babbitt: Second Str Qt
Secondary set presented by second violin and cello alongside ex.10, Babbitt: Second Str Qt
'Derived set' in relation to principal series, Babbitt: Second Str Qt, cello bb. 271–2
Series containing the trichord from which ex.13 is derived, Babbitt: Second Str Qt
'Derived set' based on one interval class from the principal series, Babbitt: Second Str Qt
'Derived set' based on two interval classes from the principal series, Babbitt: Second Str Qt
13-note series consisting of two overlapping, symmetrical heptachords, Berio: Nones (1954)
Two four-item rhythmic series employed by Webern
Rhythmic series analogous to ex.9 produced by interpreting pitch-class numbers as time-point numbers, after Babbitt

Siciliana

Monteverdi: Orfeo, last scene
J.-F. Rebel: Les élémens, simphonie nouvelle (1737–8); 'Siciliane'

Sonata form

Mozart: Sonata, C, k545, exposition, showing subjects, bridge passage and codetta
Analysis of Mozart: Eine kleine Nachtmusik k525 summarizing material, harmonic content and phrase structure
Synthesis of melodic style and phrase-orientated rhythm with sophisticated part-writing and complex texture, Haydn: Str Qt op.33 no.1, opening

Spacing
Spacing in four-part harmony

Species counterpoint
Different species of counterpoint applied vertically

Strathspey
Highland whisky

Stretto

Episodic link passage between two (stretto) entries in a fugue, Bach: Das wohltemperirte Clavier, ii, Fugue 22, 27–34
Prominent use of stretto, J.S. Bach: Das wohltemperirte Clavier, i, fugue 1

Subsemitonum
Linear cadences in two parts on D

Suite

Allemande and Courante directly derived from one another, Handel, Suite no.6, 1733
Allemande and Courante closely related but free in thematic detail, Hardel, F-Pn Vm⁷Rés.674 f.35v
Parts of a suite only subtly related, J.S. Bach: Cello suite no.1

Syncopation

Beethoven: Sonata in Ab op.110, 3rd movt
Bach: Two-Part Invention no.6, opening

Tango
Tango accompaniment patterns

Tarantella

Traditional tarantella
Athanasius Kircher: Magnes (Rome, 1641), p.875
Mendelssohn: Italian Symphony op.90, 4th movt

Tonal answer
Subject and tonal answer, Bach: Das wohltemperirte Clavier, ii, Fugue 7, 1–12

Tonic accent
Brahms: Symphony no.2 in D op.73, 3rd movt

Tonicization

Mozart: String Quartet k160/159a 'slow movt'

Transformation, thematic

Transformation of the dramatic opening figure of Beethoven's 'Pathétique' Sonata op.13 into a sweeter version in the relative major
Diabolic bass figure transformed into sweetness and longing, Liszt: Piano Sonata in B minor

Tritone