{"id":1238,"date":"2013-08-26T17:27:42","date_gmt":"2013-08-26T17:27:42","guid":{"rendered":"http:\/\/faculty.wagner.edu\/david-schulenberg\/?page_id=1238"},"modified":"2020-12-16T02:07:55","modified_gmt":"2020-12-16T02:07:55","slug":"musical-examples","status":"publish","type":"page","link":"https:\/\/faculty.wagner.edu\/david-schulenberg\/musical-examples\/","title":{"rendered":"Musical Examples"},"content":{"rendered":"

Examples for\u00a0Music of the Baroque
<\/i>and
Music of the Baroque: An Anthology of Scores,<\/i>\u00a0third edition
David Schulenberg (Oxford University Press, 2013)<\/strong><\/p>\n

This page contains links to audio versions of all the music examples in the textbook, as well as for several examples that illustrate the commentaries in the anthology (for audio versions of the full scores,\u00a0see the discography<\/a>). Also included are the examples themselves, reformatted for the web but otherwise identical to those printed in the two volumes. Score and audio for each example can be accessed by clicking on each example number and title.<\/p>\n

To avoid raising copyright issues, most of the audio files are electronically synthesized versions of the scores. These files do not sound like real acoustic instruments or voices, and they do not accurately reflect certain aspects of the examples. In particular, these synthesized examples do not incorporate the ornaments that are indicated by signs in many examples, nor do they reflect Baroque rhythmic conventions such as notes in\u00e9gales<\/i>.<\/p>\n

Examples in the textbook<\/strong><\/p>\n

Example 2.1. Palestrina,\u00a0Dum complerentur<\/i>, mm. 1\u20133<\/a><\/strong><\/p>\n

Example 2.2. Palestrina,\u00a0Dum complerentur<\/i>, mm. 4\u20136<\/a><\/strong><\/p>\n

Example 2.3. Palestrina,\u00a0Dum complerentur<\/i>, mm. 4\u20139, illustrating antiphony<\/a><\/strong><\/p>\n

Example 2.4. Palestrina,\u00a0Dum complerentur<\/i>, mm. 18\u201324<\/a><\/strong><\/p>\n

Example 2.5. Monteverdi,\u00a0Luci serene<\/i>, mm. 8\u201310<\/a><\/strong><\/p>\n

Example 2.6. Monteverdi,\u00a0Luci serene<\/i>, mm. 52\u201355<\/a><\/strong><\/p>\n

Example 3.1. Luzzaschi,\u00a0O Primavera<\/i>, mm. 1\u20139<\/a><\/strong><\/p>\n

Example 3.2. Cavalieri,\u00a0Godi turba mortal<\/i>\u00a0(complete)<\/a>
<\/strong><\/p>\n

Example 4.1. Monteverdi,\u00a0Lamento della ninfa<\/i>, mm. 1\u201312<\/a><\/strong><\/p>\n

Example 4.2. Monteverdi,\u00a0Il combattimento di Tancredi e Clorinda,<\/i>\u00a0mm. 164\u20137<\/a><\/strong><\/p>\n

Example 4.3. Monteverdi,\u00a0Il combattimento di Tancredi e Clorinda,<\/i>\u00a0mm. 302\u20138<\/a><\/strong><\/p>\n

Example 4.4. Monteverdi,\u00a0Poppea<\/i>, Act 1, scene 9 (mm. 10\u201338)<\/a><\/strong><\/p>\n

Example 4.5. Monteverdi,\u00a0Poppea<\/i>, Act 2, scene 3 (mm. 22\u201330)<\/a><\/strong><\/p>\n

Example 4.6. Monteverdi,\u00a0Poppea<\/i>, Act 2, scene 10 (mm. 46\u201360)<\/a><\/strong><\/p>\n

Example 4.7. Cavalli, Giasone<\/i>, Act 3, scene 21 (mm. 71\u201380)<\/a><\/strong><\/p>\n

Example 5.1. Conventional alterations of pitches in Alessandro Scarlatti,\u00a0Correa nel seno amato<\/i>, no. 8, recitative, \u201cMa voi, occhi dolenti,\u201d (a) mm. 2\u20133, (b) mm. 4\u20135<\/a><\/strong><\/p>\n

Example 5.2. Purcell,\u00a0Dido and Aeneas<\/i>, Act III, scene 2, Dido: \u201cWhen I am laid in earth,\u201d mm. 1\u201314<\/a><\/strong><\/p>\n

Example 6.1. Gu\u00e9dron,Vous que le bonheur rappelle<\/em><\/a><\/strong><\/p>\n

<\/i>Example 6.2. Lully,\u00a0Armide<\/i>, Act 3, scene 4,\u00a0pr\u00e9lude<\/i>\u00a0for La Haine (Hate)<\/a><\/strong><\/p>\n

Example 6.3. Lully,\u00a0Armide<\/i>, Act 2, scene 2, Sidonie’s air \u201cSur des bords s\u00e9par\u00e9s\u201d<\/a><\/strong><\/p>\n

Example 6.4. Lully,\u00a0Armide<\/i>, overture, mm. 1\u20134<\/a><\/strong><\/p>\n

Example 6.5. Lully,\u00a0Armide<\/i>, act 3, scene 2, Armide’s air \u201cPlus Renaud m’aimera\u201d<\/a><\/strong><\/p>\n

Example 6.6. Lully,\u00a0Armide<\/i>, Act 3, scene 3, Armide’s air \u201cVenez, Haine implacable,\u201d vocal entry<\/a><\/strong><\/p>\n

Example 6.7. Lully,\u00a0Armide<\/i>, Act 3, scene 4, La Haine’s air \u201cPlus on connait l’Amour,\u201d vocal entry<\/a><\/strong><\/p>\n

Example 6.8. Lully,\u00a0Armide<\/i>, Act 5, scene 2,\u00a0passacaille<\/i>: (a) mm. 1\u201312; (b) mm. 25\u20138; (c) mm. 101\u201310; (d) mm. 97\u2013101<\/a><\/strong><\/p>\n

Example 7.1. G. Gabrieli,\u00a0Ego sum qui sum<\/i>, mm. 1\u20136<\/a><\/strong><\/p>\n

Example 7.2. G. Gabrieli,\u00a0Canzon septimi toni<\/i>, mm. 1\u20137<\/a><\/strong><\/p>\n

Example 7.3. G. Gabrieli,\u00a0Sonata con tre violini<\/i>, mm. 19\u201328<\/a><\/strong><\/p>\n

Example 7.4. Sch\u00fctz,\u00a0Herr, neige deine Himmel<\/i>, mm. 38\u201343<\/a><\/strong><\/p>\n

Example 7.5. Lalande,\u00a0De profundis<\/i>, chorus (no. 1) \u201cDe profundis,\u201d mm. 18\u201325<\/a><\/strong><\/p>\n

Example 7.6. Lalande,\u00a0De profundis<\/i>, recit (no. 5) \u201cSustinuit anima mea,\u201d mm. 1\u201319<\/a><\/strong><\/p>\n

Example 8.1. Rameau, motet\u00a0Laboravi clamans<\/i>, mm. 1\u20139<\/a><\/strong><\/p>\n

Example 8.2. Rameau,\u00a0Les indes galantes<\/i>, \u201cSur nos bords l’amour vole,\u201d from Nouvelle (quatri\u00e8me) entr\u00e9e<\/i>, scene 4, mm. 1\u20135<\/a><\/strong><\/p>\n

Example 8.3. Rameau,\u00a0Hippolyte et Aricie<\/i>, Act 2, mm. 712\u201322<\/a><\/strong><\/p>\n

Example 9.1. Some appearances of the first line of the chorale melody\u00a0Herr Jesu Christ, wahr’r Mensch und Gott<\/i>\u00a0in Bach’s cantata of that title: (a) movement 1, soprano, mm. 18\u201321; (b) movement 1, oboes, mm. 1\u20132; (c) movement 1, tenor, mm. 17\u201318; (d) movement 2, basso continuo, mm. 13\u201314; (e) movement 4, bass voice, mm. 13\u201315; (f) movement 5, soprano, mm. 1\u20132<\/a><\/strong><\/p>\n

Example 9.2. The harmonic series: \u201cnatural\u201d notes on a valveless trumpet in C; notes marked * are noticeably out of tune or for other reasons difficult to use<\/a><\/strong><\/p>\n

Example 9.3. Handel,\u00a0Jephtha<\/i>, Part 2, scene 3: recitative \u201cDeeper, and deeper still,\u201d\u00a0concitato<\/i>\u00a0passage<\/a><\/strong><\/p>\n

Example 9.4. Handel,\u00a0Jephtha<\/i>, Part 3, scene 1: aria \u201cWaft her, angels, through the skies,\u201d mm. 9\u201312<\/a><\/strong><\/p>\n

Example 9.5. Handel,\u00a0Jephtha<\/i>, Part 2, scene 3: quartet \u201cO spare your daughter,\u201d mm. 23\u201325<\/a><\/strong><\/p>\n

Example 9.6. Handel,\u00a0Lotario<\/i>, Act 2: Matilde’s aria \u201cArma lo sguardo,\u201d mm. 1\u201312<\/a><\/strong><\/p>\n

Example 9.7. Franz Wenzel Habermann, Missa III from\u00a0<\/a>Philomela pia<\/i><\/strong><\/p>\n

Example 10.1a. Anonymous variations on a\u00a0ceccona<\/i>\u00a0(chaconne)<\/a><\/strong><\/p>\n

Example 10.1b.\u00a0Passacalli passeggiati\u00a0<\/i>(harmonic pattern for a passacaglia) for guitar, from Giovanni Ambrosio Colonna, Intavolatura di chitarra alla spagnuola<\/i><\/a><\/strong><\/p>\n

Example 10.2a. Kapsperger, Passacaglia in D minor for theorbo, from Libro quarto d’intavolatura di chitar[r]one<\/i><\/a><\/strong><\/p>\n

Example 10.2b. Francesco Corbetta,\u00a0Passachaglie<\/i> in F for guitar, from Vari capricii<\/i><\/a><\/strong><\/p>\n

Example 10.3. Ennemond Gaultier, Courante \u201cL’immortelle,\u201d mm. 1\u201312 (upper system), with editorial melodic reduction (lower system)<\/a><\/strong><\/p>\n

Example 10.4. Giovanni Gabrieli,\u00a0Intonazione del secondo tono<\/i> (complete)<\/a><\/strong><\/p>\n

Example 10.5. Frescobaldi,\u00a0Partite sopra l’Aria della Romanesca:<\/i>\u00a0(a) the underlying melody and ostinato bass; (b)\u00a0sesta parte<\/i>\u00a0(variation 6), mm. 1\u20133; (c)\u00a0nona parte<\/i> (variation 9), mm. 1\u20135. Asterisks mark the notes of the ostinato bass<\/a><\/strong><\/p>\n

Example 10.6. D’Anglebert,\u00a0Passacaille\u00a0<\/i>from\u00a0Armide<\/i>, mm. 1\u20139<\/a><\/strong><\/p>\n

Example 10.7. Froberger,\u00a0Meditation sur ma mort future<\/i>, from Suite 20 in D, mm. 1\u20135<\/a><\/strong><\/p>\n

Example 10.8. Jacquet de La Guerre, Suite in A minor,\u00a0pr\u00e9lude<\/i>, opening (possible performance)<\/a><\/strong><\/p>\n

Example 10.9. Jacquet de La Guerre, Suite in A minor, (a) chaconne, mm. 1\u20137 (rondeau<\/i>\u00a0and opening of first\u00a0couplet<\/i>); (b) gavotte, mm. 1\u20134; (c) minuet, mm. 1\u20138<\/a><\/strong><\/p>\n

Example 11.1a. Johann Hermann Schein, Nun bitten wir den heiligen Geist<\/i>,\u00a0<\/i>four-part chorale setting from\u00a0Cantional<\/i> (1627), line 1<\/a><\/strong><\/p>\n

Example 11.1b. Buxtehude,\u00a0Nun bitten wir den heiligen Geist<\/i>, BuxWV 208, mm. 1\u20135. Asterisks mark notes of the original chorale melody<\/a><\/strong><\/p>\n

Example 11.2. Rameau, (a)\u00a0Les trois mains<\/i>, mm. 1\u20136; (b)\u00a0L’Egyptienne<\/i>, mm. 1\u20134 and 11\u201314. Asterisks indicate points where hands cross; \u201cl.h.\u201d = left hand<\/a><\/strong><\/p>\n

Example 11.3. Domenico Scarlatti, (a) hand crossings and leaps from Sonata in A, K. 182, mm. 35\u201341; (b) acciaccaturas from Sonata in A, K. 181, mm. 57\u201360 and 96\u2013100. Double asterisks signify the presence of acciaccaturas.<\/a><\/strong><\/p>\n

Example 12.1. Dario Castello: (a)\u00a0Sonata terza a 2<\/i>, opening, from\u00a0Sonate concertate<\/i>, book 2 (Venice, 1629); (b)\u00a0Sonata ottava a 2<\/i>, opening, from\u00a0Sonate concertate<\/i>, book 1 (Venice, 1621)<\/a><\/strong><\/p>\n

Example 12.2.\u00a0Salomone Rossi,\u00a0Sonata in dialogo La Viena<\/i>, mm. 22\u201336<\/a><\/strong><\/p>\n

Example 12.3. Castello,\u00a0Sonata decima a 3<\/i>, mm. 16\u201322, from\u00a0Sonate concertate<\/i>, book 2<\/a><\/strong><\/p>\n

Example 12.4. Michel de La Barre,\u00a0Premi\u00e8re Sonate<\/i>, opening, from Troisi\u00e8me livre des trio<\/i><\/a><\/strong><\/p>\n

Example 12.5a. Quantz, Sonata in G minor for flute and keyboard, QV 2:35, second movement, mm. 13\u201320<\/a><\/strong><\/p>\n

Example 12.5b. Quantz, Quartet in E minor for flute, violin, viola, and continuo, QV 4:9, first movement, mm. 36\u201339<\/a><\/strong><\/p>\n

Example 12.6. J. S. Bach, Sonata in A for violin and harpsichord, BWV 1015, first movement, mm. 1\u20135<\/a><\/strong><\/p>\n

Example 12.7. (a) Marini,\u00a0Sonata IV per sonar con due corde per violino solo<\/i>, mm. 36b\u201341, from\u00a0Sonate<\/i>, op. 8 (Venice, 1629); (b) J. S. Bach, Sonata 2 in A minor for unaccompanied violin, BWV 1003, second movement, opening<\/a><\/strong><\/p>\n

Example 12.8. Marco Uccellini, Sonata 18\u00a0a doi violini<\/i>, from\u00a0Sonate<\/i>\u00a0(Modena, 1645), mm. 102\u20136, passage using bow vibrato or slurred tremolo (called\u00a0tremolo<\/i> in the original); note the 7\u20136 suspensions and the absence of a tuneful melody, signs of a harmonically inspired texture<\/a><\/strong><\/p>\n

Example 12.9. Biber, \u201cMystery\u201d Sonata 10, first movement, mm. 1\u20135<\/a><\/strong><\/p>\n

Example 12.10. Biber, \u201cMystery\u201d Sonata 11, mm. 127\u201333<\/a><\/strong><\/p>\n

Example 12.11. Corelli, Sonata in D, op. 2, no. 1, first movement (complete)<\/a><\/strong><\/p>\n

Example 12.12. Corelli, Sonata in D, op. 2, no. 1, fourth movement (complete)<\/a><\/strong><\/p>\n

Example 14.1. Pergolesi, duet \u201cPer te ho nel core,\u201d originally from the opera\u00a0Flaminio<\/i> (1735), used posthumously as a replacement for the final duet of La serva padrona<\/i><\/a><\/strong><\/p>\n

Example 14.2. Domenico Alberti, Sonata in E<flat>, second movement, mm. 1\u20134<\/a><\/strong>
<\/a><\/p>\n

Example 14.3. Johann Adolph Hasse,\u00a0Cleofide<\/i> (1731), Act 3, aria \u201cDov’\u00e8? si affretti,\u201d mm. 1\u20133<\/a><\/strong><\/p>\n

Example 14.4. Telemann,\u00a0Nouveaux quatuors<\/i>, no. 6, first movement, mm. 1\u201312<\/a><\/strong><\/p>\n

Example 14.5. Telemann,\u00a0Nouveaux quatuors<\/i>, no. 6, (a) second movement, mm. 1\u20134; (b) fourth movement, mm. 1\u20135<\/a><\/strong><\/p>\n

Example 14.6. Telemann,\u00a0Nouveaux quatuors<\/i>, no. 6, fifth movement, mm. 1\u20137, 13\u201319<\/a><\/strong><\/p>\n

Example 14.7. C. P. E. Bach, \u201cW\u00fcrttemberg\u201d Sonata no. 1 in A minor, W. 49\/1, (a) first mvt., mm. 1\u20134; (b) second mvt., mm. 1\u20136; (c) third mvt., mm. 1\u20138<\/a><\/strong><\/p>\n

Example 14.8. C. P. E. Bach, Concerto in D minor, W. 23, first mvt., mm. 1\u201310<\/a><\/strong><\/p>\n

Example 14.9. C. P. E. Bach, Concerto in D minor, W. 23, first mvt., mm. 48\u201353<\/a><\/strong><\/p>\n

Example 14.10. C. P. E. Bach, Concerto in D minor, W. 23, second mvt., mm. 1\u20138<\/a><\/strong><\/p>\n

Examples in the Anthology<\/strong><\/p>\n

Example for Selection 4 (Caccini, \u201cSfogava con le stelle\u201d)<\/a><\/strong><\/p>\n

Example for Selection 9 (Purcell,\u00a0From rosy bowers<\/i>)<\/a><\/strong><\/p>\n

Examples for Selection 19 (Gaultier, Pieces for lute)<\/a><\/strong><\/p>\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Examples for\u00a0Music of the BaroqueandMusic of the Baroque: An Anthology of Scores,\u00a0third editionDavid Schulenberg (Oxford University Press, 2013) This page contains links to audio versions of all the music examples in the textbook, as well as for several examples that … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":12,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1238","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/pages\/1238","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/users\/12"}],"replies":[{"embeddable":true,"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/comments?post=1238"}],"version-history":[{"count":0,"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/pages\/1238\/revisions"}],"wp:attachment":[{"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/media?parent=1238"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}