Guide to Musical Examples in Grove Music Online
Counterpoint
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- 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
- 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
- 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
- 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 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
- 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
- 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)
Entry
Fugue with 'no final entry', Bach: Das wohltemperirte Clavier, i, Fugue 5, 15–29
Exposition
Exposition of a fugue in two parts, Bach: Das wohltemperirte Clavier, i, Fugue 10, 1–5
- 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
- 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
- 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
- The three positions of the C major triad
- The four positions of a 7th chord
- Counterpoint inverted successfully at the octave and unsuccessfully at the 10th
- Counterpoint inverted successfully at the 10th
- 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.
- 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
- 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
- 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
- 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
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GB-WO Add.68 (WF 102)
- Cantus firmus settings of Worcester polyphony
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GB-Ob Lat.lit.d.20 (WF 26)
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GB-WO Add.68 (WF 61 [=77])
- Trochaic rhythm as used in Worcester polyphony
- Rhythmic notation used in Worcester polyphony
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