J. S. Bach, movement 3 from Harpsichord Concerto no. 6 in F, mm. 115–16 (solo part only, written on a single staff in the autograph score): (a) original readings; (b) revised readings (compare ex. 17.19a)

J. S. Bach, movement 2 from Third Brandenburg Concerto, mm. 1–4

J. S. Bach, movement 2 (corrente) from Flute Partita, mm. 1–6, with analysis

Handel, arias, voice and basso continuo parts only: (a) “Cessa omai di sospirare” from Giulio Cesare (London, 1724); (b) “Al lampo dell’armi” from Giulio Cesare; (c) “Lascia ch’io pianga” from Rinaldo (London, 1711)

Antonio Biffi, recitative and arioso “Hore brevi e fatale” from cantata Amante moribondo, mm. 13–20, with bass figures by J. S. Bach and their implied realization

Giulio Caccini, “Amarylli, mia bella” from Le nuove musiche (Florence, 1601)

(a) Soprano clef in first edition of Elizabeth-Claude Jacquet de La Guerre, Susanne et les vieillards (Paris, 1708)

(b) French violin clef in part for recorder, bassoon, or cello from Telemann, Quartet in D minor TWV 43:d1, from Darmstadt, Universitäts- und Landesbibliothek, Mus. ms. 1042/83 (copy by J. S. Endler)

Handel, Lotario, Act 2: Matilde’s aria “Arma lo sguardo,” mm. 1–12

Handel, Jephtha, Part 2, scene 3: quartet “O spare your daughter,” mm. 23–25

S11.38. Ich geh’ und suche mit Verlangen, BWV 49, mvt. 3, mm. 5–11