Guide to Musical Examples in Grove Music Online

Forms & Styles

Link to articles: To link to an article which features Sibelius examples, click on the heading in the list below.

Link direct to Sibelius examples: To view a musical example click on the button.

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

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

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

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

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)

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

    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

    Contredanse

    • Rhythmic features of the French contredanse
    • Cotillons subsumed into 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

    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

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

    Dies irae
    LU, 1810

    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, 256–288

    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

    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&ndash: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

    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)

    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 Piéces 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

    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

    • Homophony

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

    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

    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

    Invertible counterpoint

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

    Krakowiak

    • The versification pattern of the krakowiak
    • Syncopated rhythms used in the krakowiak

    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 góral (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

    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

    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

    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

    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

    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

    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

    Species counterpoint
    Different species of counterpoint applied vertically

    Strathspey
    Highland whisky

    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

    Tango
    Tango accompaniment patterns

    Tarantella

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

    Troubadours, trouvères

    • Variant melodic readings from family of trouvère manuscripts in F-Pn
    • Conon de Béthune: L'autre ier avint en cel autre päis
    • Gautier de Dargies: Se j'ai esté lonc tens hors du päis
    • Gilles de Vies Maisons: J'oi tout avant blasmé
    • Pierre de Craon: Fine Amours claime en moy par heritage
    • Conon de Béthune: Chançon legiere a entendre
    • Gautier de Dargies: Cançon ferai mout marris
    • Gautier de Dargies: Autres que je ne suel fas

    Verbunkos
    Magyar tánztok klávikordiomra valók [Hungarian dances for clavichord] (Vienna, 1790), p.128

    Vers mesurés, ver mesurés à l'antique
    Claude Le Jeune: Si le lien se voit deffait

    Volta (i)

    • Volta from III. Livre d'airs de cour (1619 10), f.58v
    • Byrd: Volta from the Fitzwilliam Virginal Book

    Waltz

  • Josef Kurz: Der auf das neue begeisterte und belebte Bernardo, from Act 2
  • Waltz by Josef Strauss varied by Richard Strauss

    • 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

    Back to: Guide to Musical Examples


    Copyright © Oxford University Press 2007 — 2009.