Guide to Musical Examples in Grove Music Online
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from Bass (i): A cadence on E, as described by Pietro Aaron in Thoscanello de la musica (1529/R) 
from Rondeau (i): Adam de la Halle: A Dieu commant amouretes
from Passion: Gasparo Alberti: St John Passion
from Passion: Paolo Aretino: St John Passion
from Serialism:
- Series as heard by all four instruments, Babbitt: Second Str Qt (1954)
- 'Derived set' based on one interval class from the principal series, Babbitt: Second Str Qt
- 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 two interval classes from the principal series, Babbitt: Second Str Qt
Bach, J.S.
from Allemande:
- Allemandes by Froberger (c1681) and J.S. Bach (c1722)
from 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
from 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
from Bass (i):
- Bach: Brandenburg Concerto no.2, 2nd movt
from 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
from Cadence:
- Bach: Chorale no.59 'Herzliebster Jesu'
- Bach: Brandenburg Concerto no.3 in G, 'slow movt'
from Canon (i):
- Canonic passage, Bach: Two-part Invention no.2, 1–9
from Codetta:
- Codetta after the initial subject entry of a fugue, Bach: Das wohltemperirte Clavier, i, Fugue 7, 1–3
- 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
from Counterpoint:
- J.S. Bach: D minor Invention
- Chromatic chain of 6ths and 7ths (a) reduced to a diatonic model (b), J.S. Bach: Musical Offering, trio sonata, 2nd movt
from Countersubject:
- Complete entry of the countersubject without the subject, Bach: Das wohltemperirte Clavier, i, Fugue 11, 9–21
from Courante:
- J.S. Bach: Partita no.5 in G major
- J.S. Bach: Partita no.4 in D major
from Double fugue:
- Triple fugue, Bach: Das wohltemperirte Clavier, ii, Fugue 14, 1–41
from Entry:
- Fugue with 'no final entry', Bach: Das wohltemperirte Clavier, i, Fugue 5, 15–29
from 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
- 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
from Exposition:
- Exposition of a fugue in two parts, Bach: Das wohltemperirte Clavier, i, Fugue 10, 1–5
from 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
from Gavotte:
- J.S. Bach: Gavotte II from English Suite no.6 in D minor
from Gigue (i):
- Contrapuntal gigues, J.S. Bach
from Imitation:
- Close imitation between two parts, Bach: Two-part Invention no.1, 15–19
from Inversion:
- Inversion of parts disguising a recapitulation in binary form, Bach: Two-part Invention no.6
- Bach: Die Kunst der Fuge
from Minuet:
- Minuet, from the Anna Magdalena notebook, no.36
from Monothematic:
- Monothematic fugue with no prominent counter-subject, Bach: Das wohltemperirte Clavier, ii, Fugue 3
from Passepied:
- J.S. Bach: Orchestral Suite in C major bwv1066
from 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
from Stretto:
- Prominent use of stretto, J.S. Bach: Das wohltemperirte Clavier, i, Fugue 1
- Episodic link passage between two (stretto) entries in a fugue, Bach: Das wohltemperirte Clavier, ii, Fugue 22, 27–34
from Suite:
- Parts of a suite only subtly related, J.S. Bach: Cello suite no.1
from Tonal answer:
- Subject and tonal answer, Bach: Das wohltemperirte Clavier, ii, Fugue 7, 1–12
from Tritone:
- Bach: Chorale Es ist genug from Cantata no.60
from Courante: R. Ballard: Premier livre d'intabulations pour la luth (1611)
from Pentatonic: Bartók: Bluebeard's Castle, Bluebeard's Glory
from Cadence:
- Beethoven: Symphony no.1, 1st movt
- Beethoven: Sonata in E♭ op.81a, 1st movt
from Consecutive fifths, consecutive octaves:
- Beethoven: Quartet in E♭ op.74, first movt
from Contredanse:
- 'Reel' rhythm used in Beethoven: 12 Contredanses for orchestra (1802)
from Cross-accent:
- Beethoven: Sonata in G major op.31 no.1, 1st movt
from Double fugue:
- Double fugue, Beethoven: Sonata, op.106 'Hammerklavier', last movt, 256–88
from Motif:
- Beethoven: Piano Sonata in E op.109, opening
from Semitone:
- Beethoven: Sonata in E♭ op.31 no.3, first movt
from Syncopation:
- Beethoven: Sonata in A♭ op.110, 3rd movt
from Transformation, thematic:
- Transformation of the dramatic opening figure of Beethoven's 'Pathétique' Sonata op.13 into a sweeter version in the relative major
from Tritone:
- Beethoven: Trio in C minor op.1 no.3, 1st movt
from Upbeat:
- Beethoven: Piano Sonata op.14 no.2, 3rd movt
from Serialism:
- 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 generated by reordering the hexachords of ex.3 so that interval size is minimal,
Lyric Suite, b.33
from Serialism: 13-note series consisting of two overlapping, symmetrical heptachords, Berio:
Nones (1954)
from Rondeau (i): Binchois: Triste plaisir et doulereuse joie
from Early Latin secular song: Boethius: De consolatione Philosophiae (metrum iv, 7), as set in the Dialogus de musica formerly attributed to Odo of Cluny
from Tonic accent: Brahms: Symphony no.2 in D op.73, 3rd movt
from Volta (i): Byrd: Volta from the Fitzwilliam Virginal Book
Cabanilles, Juan Bautista José
from Gallarda: Duple-metre gallarda by Juan Cabanilles
from Rigaudon: Campra: L'Europe galante (1697), Act scene iii
from Allemande: François de Chancy: Allemande pour luth from Mersenne: Harmonie Universelle,
ii (1637), 88
from Arabesque:
- Arabesque created through rapid harmonic change, Chopin: Nocturne, op.9 no.2, 12–14
from Bass (i):
- Chopin: Ballade no.3 in A♭ op.47
from Homophony:
- Chopin: Nocturne in E, op.62 no.2 (1846)
from Mazurka:
- Influence of traditional instrumental style and texture, Chopin: Mazurka op.68 no.3
from Pentatonic:
- Chopin: Krakowiak
from Consecutive fifths, consecutive octaves: Ciconia: Et in terra pax (c1400)
from Troubadours, trouvères:
- Conon de Béthune: L'autre ier avint en cel autre päis
- Conon de Béthune: Chançon legiere a entendre
from Courante:
- A. Corelli: Sonata for 2 violins and continuo, op.4 no.2
from Gigue (i):
- A. Corelli: Giga from op.5 no.9 (1700)
from Passepied: F. Couperin: from Premier livre de pièces de clavecin, 2e ordre
from Gigue (i): D'Anglebert: Gigue from Pièces de clavecin, 1689
from Cakewalk:
- Debussy: 'Golliwog's Cakewalk', Children's Corner, 10–25
from Pentatonic:
- Debussy: Nuages
from Tritone:
- Debussy: Prélude à l'après-midi d'un faune
from Whole-tone scale:
- Debussy: Pelléas et Mélisande, Act 4 scene ii
from Galliard: The use of hemiola in the galliard style, Dowland: Can she excuse (1597)
from Cantus firmus:
- 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.
from Hymn:
- Du Fay: Conditor alme siderum, verse 2
from Isomelism:
- Du Fay: Rite majorem (ed. Besseler)
- Du Fay: Fulgens iubar (ed. Besseler)
from Motet:
- Du Fay: Ave regina celorum (ii)
- Du Fay: Ave regina celorum (iii)
from Non-quartal harmony:
- Du Fay: Du tout m'estoie, c1450
from Nota cambiata:
- Du Fay: Missa Sancti Jacobi, Kyrie
from 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
Frescobaldi, Girolamo Alessandro
from Courante: G. Frescobaldi: Il secondo libro di toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti et altre partite, 1627
from Allemande: Allemandes by Froberger (c1681) and J.S. Bach (c1722)
from Counterpoint: Vincenzo Galilei's innovations in the treatment of dissonances (1587–91)
from Troubadours, trouvères:
- Gautier de Dargies: Se j'ai esté lonc tens hors du päis
- Gautier de Dargies: Cançon ferai mout marris
- Gautier de Dargies: Autres que je ne suel fas
from Madrigal: Giovanni da Cascia: Agnel son bianco, beginning of the first line, the second line, and the beginning and end of the ritornello
from Whole-tone scale: Glinka: Ruslan and Lyudmila, overture
from Motet: Gombert: Media vita
from Cadence:
- Handel: Fugue in B minor for organ (last seven bars)
from Minuet:
- Handel: Rodelinda (1725), menuet from the overture
from Suite:
- Allemande and Courante directly derived from one another, Handel, Suite no.6, 1733
from Bass (i):
- Haydn: String Quartet in C, op.50 no.2, finale
from Cadence:
- Haydn: String Quartet in C op.74 no.1, 1st movt
from Consecutive fifths, consecutive octaves:
- Haydn: Quartet in C op.9 no.1, Adagio
from Color: Melodic elaboration by 'sonus ordinatus' (Johannes de Garlandia)
from Ostinato: Rhythmic ostinato on a single pitch, Jolivet: Cinq danses rituelles, no.1 (1939)
from Cantus firmus:
- 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)
from Motet:
- Josquin: Ave Maria, gratis plena
- Josquin: Miserere mei, Deus
from Counterpoint: Motivic counterpoint (b) evolved by Kirnberger (1771–9) from a chorale with continuo accompaniment (a)
from Vers mesurés, ver mesurés à l'antique: Claude Le Jeune: Si le lien se voit deffait
from Allemande: Adrian Le Roy: Almande from Premier livre de tablature de luth (Paris, 1551)
from Ostinato: Ostinato rhythm applied to chords with no harmonic function, Ligeti:
Hungarian Rock (1978)
from Off-beat:
- Liszt: Piano Sonata
from Pentatonic:
- Liszt: Kyrie from Missa Choralis, alto line
from Transformation, thematic:
- Diabolic bass figure transformed into sweetness and longing, Liszt: Piano Sonata in B minor
from Passion: Longueval: Passion
from Bourrée:
- J.-B. Lully: Le bourgeois gentilhomme, Act 1 (dancing lesson)
from Gigue (i):
- Lully: Gigue from Roland as choreographed by Raoul Feuillet, Recüeil de dances (Paris, 1700), 8
from March:
- Lully: March La générale, Air for the oboes
from Minuet:
- Lully: Entr'acte d'Oedipe (1664), Menuet des Thébains
from 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
from Motet:
- Machaut tenors
from Rondeau (i):
- Palindromic form illustrating a rondeau text, Machaut: Ma fin est mon commencement/Et mon commencement ma fin, 1390s, first and last four bars only
from Tarantella: Mendelssohn: Italian Symphony op.90, 4th movt
from Ostinato: Ostinato pattern incorporating changes of register, Messiaen: Trois petites liturgies de la Présence Divine, no.3 (1944)
from Siciliana: Monteverdi: Orfeo (1607), last scene
from Antecedent and consequent:
- Mozart: Quartet in B♭ k458, theme of finale
from Bass (i):
- Mozart: Piano Trio in G k486, finale
from Bridge passage:
- Mozart: Sonata, C, k545, exposition, showing subjects, bridge passage and codetta
from Cadence:
- Mozart: Symphony in C k551, 3rd movt, Trio
from Codetta:
- Mozart: Sonata, C, k545, exposition, showing subjects, bridge passage and codetta
from Consecutive fifths, consecutive octaves:
- Mozart: Violin Sonata in A k526, Presto
- Mozart: Sextet 'Sola, sola in buio loco' from Don Giovanni violin and bass parts only
from Contredanse:
- Contredanse in Mozart
from Exposition:
- Mozart: Sonata, C, k545, exposition, showing subjects, bridge passage and codetta
from 'Horn' fifths:
- Mozart: Duo in G k423, finale
from Modulation (i):
- Mozart: Piano Sonata in C major, k545
from Register:
- Mozart: 'Haffner' Symphony k385, opening
from 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
from Tonicization:
- Mozart: String Quartet k160/159a 'slow movt'
from Tritone:
- Mozart: String Quartet in E♭ k428/421b, 1st movt
from Bourrée:
- Gottlieb Muffat: Componimenti musicali (1690)
from Rigaudon:
- Muffat: Componimento musicale (1726)
from Courante: Typical hop–step pattern of the corrente, C. Negri: Nuove inventioni di balli, 1604
from Allemande: Different Allemande textures exploited by Pachelbel
Palestrina, Giovani Pierluiga da
from Cadence:
- Palestrina: Jubilate Deo omnis terra (last four bars)
from Nota cambiata:
- Palestrina: Adjuro vos, Liber IV Motettorum
from Bourrée:
- Pécour: Recüeil de dances (Paris, 1700), Bourée, pp.1 and 2
from Courante:
- L. Pécour: La Bourgogne (Recüeil de dances, 1700, p.43)
from March: Philidor l'aîné: March La retraite, Air for the oboes
from Discant:
- From Leonel Power's treatise on discant, first half of the 15th century, GB-Lbl Lansdowne 763, f.108v, first example
from Motet:
- Power: Ave regina celorum
from Gavotte:
- Praetorius: Gavotte II, Terpsichore (1612)
from Passepied:
- M. Praetorius: from Terpsichore (1612)
from Sarabande:
- Praetorius: La sarabande (1612), outer voices
from Ostinato:
- Vocal overlap masking the link between two ostinato statements, Purcell: O solitude
- 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'
from Rigaudon:
- Purcell: Musick's Hand-Maid, pt 2, Rigadoon
from Cadence:
- Resolutions of the 'characteristic dissonance' (Rameau)
from Rigaudon:
- Rameau: Hippolyte and Aricie (1733), Act 3 scene viii
from Bolero: Ravel: Bolero (1928), recurrent underlying rhythm
from Siciliana: J.-F. Rebel: Les élémens, simphonie nouvelle (1737–8); 'Siciliane'
from Consecutive fifths, consecutive octaves: Schenker: 'Die freie Satz', figs.51–2
from Serialism: The first two forms of the row heard in Schoenberg's Variations for Orchestra
op.31 (1928)
from Consecutive fifths, consecutive octaves:
- Schumann: Romance in B♭ minor op.28 no.1
from Fughetta:
- Schumann: 'Kleine Fuge', Album für die Jugend
from Semitone:
- Schumann: Traumeswirren, op.12 no.7
from Anglican chant: 'Pretentious' Anglican chant of the type deplored by Rimbault, by J.S. Smith
from Waltz: Waltz by Josef Strauss varied by Richard Strauss
from Cadence:
- Strauss: Don Quixote
from Waltz:
- Waltz by Josef Strauss varied by Richard Strauss
from Pentatonic: Stravinsky: The Rite of Spring, Spring Rounds
from Mazurka: Mazurka rhythm combined with goral (highland) music, Szymanowski: op.50 no.1
from Homophony: Tallis: If ye love me (c1549)
from In Nomine: Cantus firmus to Taverner's Missa Gloria tibi Trinitas: the antiphon sung at first Vespers on Trinity Sunday in the Sarum rite
from In Nomine: Elements of an instrumental style in two In Nomines by Tye: Saye so (a) and Crye (b)
from 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
from Motif:
- Wagner: Das Rheingold, scene iii, Nibelungs' motif
from Pentatonic: Weber: Turandot, end of theme
from Serialism:
- Symmetrical series, Webern: Str Qt op.28 (1938)
- Two four-item rhythmic series employed by Webern
from Motet: Weerbeke: Ave regina caelorum
from Counterpoint:
- Examples of dissonance treatment, from Gioseffo Zarlino: Le istitutioni harmoniche
- Two treatments of dissonance not catalogued by Zarlino
- The transposition of parts in contrapunto doppio, from Zarlino (iii, 56)
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