Guide to Musical Examples in Grove Music Online
Melody
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Antecedent and consequent
Mozart: Quartet in B♭ k458, theme of finale
- 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)
Color
Melodic elaboration by 'sonus ordinatus' (Johannes de Garlandia)
Dies irae
LU, 1810
Flourish
'Flourish in C fa ut Natural', Select Lessons for the Violin (London, 1702)
- Du Fay: Rite majorem (ed. Besseler)
- Du Fay: Fulgens iubar (ed. Besseler)
- '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
L'homme armé
L'homme armé melody, I-Nn VI E 40
- Passing notes
- Anticipations
- Auxiliaries
- Echappée and cambiata
- Appoggiaturas
- Palestrina: Adjuro vos, Liber IV Motettorum
- Du Fay: Missa Sancti Jacobi, Kyrie
- Note cambiate
- Weber: Turandot, end of theme
- Chopin: Krakowiak
- Liszt: Kyrie from Missa Choralis, alto line
- Debussy: Nuages
- African-American spiritual
Polonaise
'Wżłobie leży' (melody line)
- 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)
- 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
Register
Mozart: 'Haffner' Symphony k385, opening
- Natural minor scale
- Melodic minor scale
- Harmonic minor scale
- Ascending chromatic scale
- Beethoven: Sonata in E♭, op.31 no.3, first movt
- Schumann: Traumeswirren, op.12 no.7
- Effect of context on physically equal semitones
Tonic accent
Brahms: Symphony no.2 in D op.73, 3rd movt
- 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
- 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
- Glinka: Ruslan and Lyudmila, overture
- Dargomïzhsky: The Stone Guest, Act 3
- Debussy: Pelléas et Mélisande, Act 4 scene ii
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