Guide to Musical Examples in Grove Music Online

Counterpoint

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Answer

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

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

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

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

Canon (i)
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)

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

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

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

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

    • 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

    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

    Gigue (i)
    Contrapuntal gigues, J.S. Bach

    Hocket

    • Examples of hocket technique brought about by Perotinus
    • Further refinements of hocket technique
    • 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

    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

    Inversion

    • The three positions of the C major triad
    • The four positions of a 7th chord

    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)

    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.

    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

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

    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

    Part-crossing
    Avoidance of consecutive intervals through part-crossing

    Pavan

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

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

    Species counterpoint
    Different species of counterpoint applied vertically

    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

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

    Worcester polyphony

    • GB-WO Add.68 (WF 102)
    • Cantus firmus settings of Worcester polyphony
    • GB-Ob Lat.lit.d.20 (WF 26)
    • GB-WO Add.68 (WF 61 [=77])
    • Trochaic rhythm as used in Worcester polyphony
    • Rhythmic notation used in Worcester polyphony

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