For purposes of economy, only the most essential musical examples appear in the printed book. The remaining examples, as well as all illustrations (figures), are available online, using the links shown below (click on the number of the illustration or example).
Asterisks indicate items that are accessible only online. Links to all illustrations and examples are also included in the main text.
Illustrations
*1.1. Autograph manuscript: J. S. Bach, Violin Sonata no. 1 in G minor, BWV 1001, from Berlin, Staatsbibliothek, Mus. ms. Bach P 967
*1.2. Manuscript copy: J. S. Bach, Violin Sonata no. 1 in G minor, BWV 1001, from Berlin, Staatsbibliothek, Mus. ms. Bach P 267 (copy by J. G. Vogler)
*1.3. J. S. Bach, Cello Suite no. 1 in G, BWV 1007, from Berlin, Staatsbibliothek, Mus. ms. Bach P 269 (copy by A. M. Bach)
*1.4. (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)
*1.5. Frescobaldi, Toccata 1 from Toccate e partite . . . libro primo (Rome, 1616)
*1.6. (a) Josquin des Prez, Missa L’homme armé sopra voces musicales, soprano part, from Misse Josquin (Venice, 1502); (b) Guillaume de Machaut, “De toutes flours,” from Paris, Bibliothéque National, manuscrits français 1584 (Machaut manuscript “A”)
*1.7. Louis Couperin, Prelude in G minor, from Paris, Bibliothéque National, Rés. Vm7 674–675 (Manuscrit Bauyn)
*1.8. Seventeenth-century French lute tablature, with a transcription from the same period: Ennemond (?) Gautier, Courante “Le canon,” from Perrine, Livre de musique pour le lut (Paris, 1680)
*1.9. Giulio Caccini, “Sfogava con le stelle,” from Le nuove musiche (Florence, 1601)
*3.1. Johann Andrea Herbst, Musica moderna prattica, overo Maniera del buon canto (Frankfurt, 1658), examples of trills (groppi)
*4.1. Telemann, Duet for two recorders, two flutes, or two viola da gambas, TWV 40:107, from Der getreue Musik-Meister (Hamburg, 1728), with alternative clefs (French violin, treble, and alto) and key signatures (B-flat, G, and A)
*4.2. François Couperin, Septième concert, allemande, from Les goûts-réünis (Paris, 1724)
*5.1. “Greensleeves,” anonymous keyboard arrangement from Paris, Bibliothéque National, Rés. 1186
*5.2. Schütz, “Saul, Saul was verfolgst du mich?” from Symphoniae sacre, part 3 (Dresden, 1650), beginning of organ part
*5.3. Strozzi, “Amor dormiglione,” from Cantate, op. 2 (Venice, 1651)
*5.4. François Couperin, gavottes from: (a) Septième concert, from Les goûts-réünis (Paris, 1724), and (b) Huitième order, from Second livre de pièces de clavecin (Paris, 1717)
*5.5. François Couperin, dances: (a) sarabande from Quatrième concert, from Concerts royaux (Paris, 1722); (b) gigue from Onzième concert, from Les goûts-réünis (Paris, 1724); (c) minuet from Second order, from Pièces de clavecin . . . premier livre (Paris, 1713)
*5.6. François Couperin, Quatrième concert, from Concerts royaux (Paris, 1722): (a) “Courante françoise”; (b) “Courante a l’italiene”
*5.7. J. S. Bach, variation 25 from the Goldberg Variations (Leipzig, ca. 1741)
*7.1. Carlo Milanuzzi, Primo scherzo delle ariose vaghezze, op. 7 (Venice, 1622): (a) Alfabetto for Spanish guitar; (b) “Amante disperate” for voice and continuo, with alfabeto chord symbols
*7.2. From Jean-François Dandrieu, Principes de l’accompagnement du clavecin (Paris, ca. 1718), unpaginated. Asterisks mark instances of the petite sixte (V6/4/3 chords)
*7.3. Bernardo Pasquini, “Basso continuo” (partimento) in E minor, from London, British Library, Add. ms. 31501
*7.4. Rameau, examples of the “rule of the octave” (octave de la basse continue) from Traité de l’harmonie (Paris, 1722), p. 384
*7.5. Examples of broken chords decorated by acciaccaturas, from Gasparini, L’armonico pratico al cimbalo (Bologna, 1713), p. 74
*7.6. Recitative with “the manner of accompanying it,” from Pasquali, Thorough-Bass Made Easy (Edinburgh, 1757), plate 27
*8.1. Ornament table (“Explication”) from J. S. Bach, Clavierbüchlein vor Wilhelm Friedemann Bach (Little Keyboard Book for W. F. Bach), New Haven, Yale University Library
*8.2. Table of ornament signs (“Marques des agrements”), including appoggiaturas (cheutes or ports de voix), from Jean-Henri d’Anglebert, Pièces de clavecin (Paris, 1689)
*10.1. Strozzi, “Ardo in tacito foco,” from Cantate, ariete (Venice, 1654), opening
*10.2. Strozzi, “Ardo in tacito foco,” end of stanza 1
*11.1. Handel, “Lascia ch’io pianga,” from Rinaldo (London, 1711), keyboard arrangement from William Babell, Suit[e]s of the Most Celebrated Lessons (London, 1717)
*12.1. Jacquet, opening of Susanne, from Cantates françoises sur des sujets tirez de l’écriture, vol. 1 (Paris, 1707)
*12.2. Jacquet, air “Indescrette jeunnesse” from Susanne
*12.3. Jacquet, recitative “Ils doivent l’accuser” from Susanne
*13.1. J. S. Bach, opening of Cantata 82: (a) original version for oboe, from Bach’s autograph composing score; (b) flute version, from manuscript copy
*13.2. J. S. Bach, opening aria from Cantata 82: (a) opening line (Bach’s autograph); (b) opening of B section (copied by Bach’s pupil Altnickol)
*14.1. Castello, Sonata 12 from Sonate concertate, book 2, first soprano part, from 1644 reprint (Venice: Magno), SB 36–40
*14.2. Castello, Sonata 2 from Sonate concertate, book 2, soprano part, SB 1–15
14.3. Castello, Sonata 12 from Sonate concertate, book 2, basso continuo part, SB 1–8
*15.1. J. S. Bach, allemande from Cello Suite no. 6, manuscript copy, Berlin, Staatsbibliothek, Mus. ms. Bach P 289
15.2. Corelli, movement 3 from Sonata op. 5, no. 1, from the first edition (Rome, 1700)
*15.3. Corelli, movement 3 from Sonata op. 5, no. 4
*15.4. Corelli, movement 5 from Sonata op. 5, no. 1
*15.5. Corelli, movement 5 from Sonata op. 5, no. 3
*15.6. Corelli, movement 2 from Sonata op. 5, no. 9
*15.7. Corelli, movement 5 from Sonata op. 5, no. 4
*15.8. Corelli, movement 4 from Sonata op. 5, no. 1 (mm. 14–22), from the embellished edition by Roger (Amsterdam, 1710)
*16.1. François Couperin, from the ornament table in his Pièces de clavecin . . . Premier livre (Paris, 1713): (a) two types of trills (tremblements); (b) two types of mordents (pincés)
*16.2. François Couperin, movement 5 (“La vivacité”) from Les goûts-réünis, no. 9
*16.3. François Couperin, movement 1 (ouverture) from Les goûts-réünis, no. 8
*16.4. François Couperin, movement 4 (sarabande) from Concerts royaux, no. 3
*16.5. François Couperin, movement 4 (Courante à l’italienne) from Concerts royaux, no. 4
*16.6. “Void” notation in François Couperin, movement 2 (Grande Ritournéle) from Les goûts-réünis, no. 8
*17.1. Chopin, Mazurka in E minor, op. 17, no. 2 (first Paris edition, 1834)
*17.2. J. S. Bach, movement 1 from Fifth Brandenburg Concerto, from his autograph manuscript (Berlin, Staatsbibliothek, AmB 78). The parts are, from the top: flute, solo violin, ripieno violin, ripieno viola, cello, violone, and harpsichord
*17.3. J. S. Bach, Adagio between movements 1 and 2 of Third Brandenburg Concerto, from his autograph manuscript (Berlin, Staatsbibliothek, AmB 78). The parts are, from the top: three violins, three violas, three cellos, and “Violone e Cembalo”
Examples
*3.1. Three types of vocal writing (shown without instrumental accompaniment): (a) Handel, aria “Fammi combattere” from Orlando (London, 1733); (b) Ottavio Valera, solo madrigal “Sfogava con le stelle” (from Francesco Rognoni, Selva de varii passaggi, 1620); (c) Lully, air “Sous les bords séparés,” from Armide (Paris, 1686)
*4.1. Harmonic series (pitches marked by asterisks must be modified to sound in tune)
*4.2. Guillaume de Machaut, Ballade 19, “Amours me fait desirer” (asterisks mark triadic sonorities)
*4.3. (a) Michelangelo Rossi, Toccata 7 from Toccate e corrente (Rome, 1657); (b) Giovanni Salvatore, Canzona francese 2 from Ricercari . . . (Naples, 1641)
*4.4. François Couperin, Huitième concert, overture, from Les goûts-réünis (Paris, 1724)
*5.1. Frescobaldi, Toccata 9 from Toccate e partite, book 2 (Rome, 1637)
*5.2. Schütz, “Saul, Saul was verfolgst du mich?” from Symphoniae sacre, part 3 (Dresden, 1650), upper voices and organ bass only: extracts from (a) beginning, (b) middle, and (c) end
*5.3. Lully, Armide, from Act 2, scene 5 (Paris, 1686)
*5.4. 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)
*5.5. Frescobaldi, Canzon III for canto solo (unspecified treble instrument) and basso continuo, from Canzoni da sonare (Venice, 1634)
*5.6. (a) Byrd, Alman, BK 11 (Fitzwilliam Virginal Book, no. 163); (b) Froberger, allemande from Suite 2
*5.7. From Johann Caspar Fischer, Pièces de clavecin (Schlackenwerth, 1696): (a, b) courante and sarabande from Suite 6; (c) canaries (a type of gigue) from Suite 2; (d, e) gavotte and minuet from Suite 1; (c) chaconne from Suite 8
*5.8. Dowland, songs (soprano and bass parts only): (a)“Flow my tears” (Lachrimae pavan), from Second Book of Songs or Airs (London, 1600); (b) “Now o now I needs must part” (the Frog Galliard), from First Book of Songs or Airs (London, 1597)
*5.9. Monteverdi, “Vi ricordi, o boschi ombrosi” (gagliarda?), from Orfeo (printed score, Venice, 1609)
*5.10. Lully, “Plus Renaud m’aimera” (courante?), from Armide (asterisks mark accented syllables)
5.11. Handel, overture to Rinaldo (London, 1711)
5.12. (a) François Couperin, Septième prelude from L’art de toucher le clavecin (Paris, 1716); (b) J. S. Bach, prelude in F-sharp from Well-Tempered Clavier, book 2 (ca. 1740); (c) Bach, opening of the Ouverture (or Partita) in B minor (Leipzig, 1735)
5.13. J. S. Bach, opening of the Suite (Ouverture) in C, BWV 1066
*5.14. Corelli, first movement from Concerto in C minor, op. 6, no. 3 (concertino parts only)
*5.15. Lully, overture from Armide (violin and bass parts only)
*5.16. Vivaldi, movement 2 from Concerto in E, “La primavera,” op. 8, no. 1. The Italian rubrics read: “The sleeping goatherd”; “Murmuring of fronds and plants”; and “The barking dog”
5.17. J. S. Bach, movement 1 from Violin Sonata no. 3 in C, BWV 1005
5.18. Lully, sommeil (sleep scene) from Atys (Paris, 1675)
*5.19. Purcell, almand from Suite no. 3 in G, from A Choice Collection of Lessons (London, 1696)
*5.20. Handel, allegro (fugue) from Suite no. 3 in D minor, from Suites de Pieces (London, ca. 1725)
5.21. J. S. Bach, duet “Du wahrer Gott und Davids Sohn,” from Cantata 23 (Leipzig, 1723)
*5.22. J. S. Bach, movement 1 (Andante) from Sonata in B minor for flute and keyboard (Leipzig, ca. 1730?)
*5.23. Josquin des Prez, Agnus Dei 2 from Missa L’homme armé sopra voces musicales, from Misse Josquin (Venice, 1502)
*5.24. William Byrd, Fantasia BK 13 (Lincoln or London, ca. 1575?)
*5.25. Quantz, movement 3 from Flute Quartet no. 3 in G (Dresden, ca. 1725?)
*5.26. Froberger, gigue from Suite 7: (a) version of the composer’s autograph (Vienna, Österreichische Nationalbibliothek, ms. 18707, Vienna, 1656); version from the Bauyn manuscript (Paris, Bibliothwèque National, Rés. Vm7 674–5, ca. 1650)
*5.27. Monteverdi, “Che dar più vi poss’io,” from Madrigali, book 5 (Venice, 1606)
5.28. Frescobaldi, Toccata 3 from Toccate e partite . . . libro primo (Rome, 1616), with original beaming
*5.29. Monteverdi, “Possente spirto” from Orfeo
*5.30. Louis Couperin, prelude (G. 13), from Bauyn manuscript
5.31. J. S. Bach, allemande from Cello Suite no. 6 in D (Leipzig, ca. 1725?)
6.1. Illustrations of woodwind articulation from (a) Hotteterre, Principes (Paris, 1707), and (b) Quantz, Versuch (Berlin, 1752)
*6.2. Illustration of double tonguing from Quantz, Versuch
*6.3. “Démonstration de la Liaison & de son usage” from Saint-Lambert, Principes du clavecin (Paris, 1702)
6.4. Typical slurring patterns in keyboard music, from J. S. Bach, Italian Concerto (Leipzig, 1735)
*6.5. J. S. Bach, movement 3 from Violin Concerto in E (solo part only)
6.6. J. S. Bach, (a) bourrée 2 from Suite in B minor for flute and strings (flute part only), with (b) rhythmic analysis
*6.7. (a) Telemann, movement 1 from Trio Sonata in A minor (TWV 42:a1, 1718); (b) J. S. Bach, badinerie from Suite in B minor for flute and strings, with (c) rhythmic analysis
*6.8. Haydn, movement 4 from String Quartet in F minor (the “Razor”), op. 55, no. 2 (violin 1 only)
6.9. J. S. Bach, allemande from Flute Partita in A minor
*6.11. Examples of flute tonguing (articulation) from Quantz, Versuch (Tabula IV): (a) fig. 19; (b) figs. 16, 17; (c) figs. 8, 9
*6.12. Flute tonguing (articulation) from Quantz, Versuch (Tabula III)
*6.13. J. S. Bach, allemande from Flute Partita in A minor, with possible tonguings and phrasings (breaths)
*6.14. (a) Handel, “Ev’ry valley,” from Messiah; (b) J. S. Bach, “Cum sancto spiritu” from B-Minor Mass
6.15. Quantz, Versuch (Tabula V, fig. 19): (a, b) nos. 1 and 2; (c) no. 5; (d, e) nos. 17 and 18
6.16. F. Couperin, “Les moissonneurs” from Sixième ordre, Second livre de pièces de clavecin (Paris, 1717)
6.17. (a, b) Rameau, Les indes galantes (Paris, ca. 1735), extracts from the nouvelle entrée, scene 6 (without instrumental parts); (c) J. S. Bach, loure from Partita no. 3 for solo violin, BWV 1006
6.18. Georg Muffat, examples C, D, E, V, BB, EE, and HH from preface to Florilegium secundum (Passau, 1698). Vertical strokes above the notes indicate downbow, v-shaped symbols upbow; dots signify cracquer
*6.19. F. Couperin, Allemande “L’Ausoniene” from Huitiême Ordre, Second livre de pièces de clavecin (1717), with fingerings from L’art de toucher le clavecin. Asterisks indicate points at which the fingerings impose non-legato
*6.20. J. S. Bach, Prelude in C, BWV 870a/1, later incorporated into the Well-Tempered Clavier, with fingerings from manuscript copy by J. C. Vogler (ca. 1729)
*6.21. John Bull, Praeludium (BuK 121), complete, comparing orginal fingering (from manuscript copy in London, British Library, Add. ms. 31403, ca. 1630?) with modern fingering
*6.22. Girolamo Diruta, from Il transylvano, vol. 1 (Venice, 1597), with original fingerings beneath staff, modern equivalents above. “B” for buona signifies good notes (accented, consonant), “C” for cattiva or bad notes (unaccented, mostly passing dissonances)
*6.23. Alessandro Scarlatti, from Toccata prima (ca. 1700?)
*6.24. J. S. Bach, Praeludium in B minor, BWV 544, movement 1, with added L and R beneath the notes signifying left and right foot, respectively, and symbols above the notes indicating heel (the U-shaped sign) and toe (carat)
*7.1. Realization of line 1 in illustration 7.1 (from Jean-François Dandrieu, Principes de l’accompagnement du clavecin, Paris, ca. 1718)
*7.2. Realization of illustration 7.2 (from Bernardo Pasquini, “Basso continuo” in E minor)
*7.3. Realization of the first “rule of the octave” in illustration 7.4 (without the fingering numerals)
*7.4. C. P. E. Bach, examples of the accompaniment of appoggiaturas, from Versuch, ii.25.18 (bass together with realization originally given on a single staff)
7.5. J. S. Bach, trio sonata from the Musical Offering BWV 1079, movement 1, mm. 1–8, figured bass only, wih two alternative realizations
*7.6. Heinichen, Der General-Bass in der Composition (Dresden, 1728), p. 157
*7.7. Heinichen, Der General-Bass in der Composition (Dresden, 1728), p. 551
*7.8. Corelli, Violin Sonata in C, op. 5, no. 3, mvt. 1, mm. 1–10, (a) original (Rome, 1700) and (b) anonymous French version in D for flute (Paris, ca. 1735), each with added realization
8.1. Rameau, “La terre, les cieux et la mer” from Les indes galantes, fourth (nouvelle) entrée (Paris, ca. 1735), without upper instrumental parts
*8.2. (a) J. S. Bach, Flute sonata in A, BWV 1032, mvt. 1, mm. 9–10, with (b) questionable realization of the ornament added in m. 10
*8.3. Giulio Caccini, “Cor mio,” from Le nuove musiche (Florence, 1601)
*8.4. (a) François Couperin, “La reine des cœurs”; (b) J. S. Bach, Applicatio, BWV 994 (with original keyboard fingering)
*8.5. Monteverdi, Orfeo, from act 2 (asterisk marks dissonant appoggiatura)
*8.6. C. P. E. Bach, Keyboard concerto in D minor, W. 23, mvt. 1, mm. 5–10 (asterisks mark dissonant appoggiaturas)
8.7. (a) d’Anglebert, first courante in G, from Pièces de clavecin, including ports de voix in mm. 1 (d2) and 2 (a1); (b) François Couperin, “Les moissonneurs,” including coulé in m. 2 (f1); (c) Rameau, Les indes galantes, including ports de voix (m. 5, bb1 and d2) and coulés (m. 3, g1 and bb1; m. 5, bb1)
*8.8. Lambert, “Mon ame faisons un effort,” (a) first stanza; (b) second stanza, with written-out ornaments (asterisks mark a port de voix and a coulé); (c) d’Anglebert, Tombeau de Chambonnières
*8.9. C. P. E. Bach, appoggiaturas whose main note is displaced to a following rest, discussed in Versuch, i.2.2.12 (Tabula 3, figure 7): (a) as written; (b) realization
*8.10. Pre-beat appoggiaturas from Quantz, Versuch, 8.6 (Tabula 6, figs. 9–10): (a) notation; (b) realization
*8.11. J. S. Bach, Prelude in F-sharp from The Well-Tempered Clavier, part 2: compare (a) short (?) appoggiaturas written as petites notes and (b) long appoggiatura written as regular note
*8.12. (a) J. S. Bach, “aria” from the Goldberg Variations; (b) C. P. E. Bach, from Versuch (Tabula 4, fig. 20a), notation and its “odious” realization
*8.13. Mozart, opening of String Quartet in D, K. 575, first violin, as notated by the composer in his autograph manuscript
*8.14. Diruta, a descending melodic line decorated by tremoletti, from Il transilvano, vol. 1, p. 20 (asterisk marks a lower-note tremolo or mordent)
*8.15. Merulo, opening of Toccata I from Toccate d’intavolatura d’organo, libro primo (Rome, 1598), showing written-out tremoli and groppi (asterisks mark groppi)
*8.16. Byrd, opening of keyboard arrangement of Dowland, Lachrimae Pavan: (a) as notated (the fingering 4 is original); (b) with possible realization of ornament signs
*8.17. Examples of port de voix (appoggiatura) combined with pincé (mordent) from ornament tables by (a) d’Anglebert (1689), (b) Rameau (1724), and Couperin (1716)
*8.18. Purcell, sarabande from Suite 2 (A Choice Collection, 1696)
*8.19. Examples of long trills with closing turns from (a) Giulio Caccini, “Quelle lagrime” from Le nuove musiche; (b) Frescobaldi, Toccata 1 from Toccate e partite . . . libro primo; (c) J. S. Bach, sarabande from French Suite no. 6
*8.20. Diruta, “mixed” groppi, from Il transilvano, vol. 1, p. 20
8.21. Cadential trills with alternative terminations, from (a) Vivaldi, Violin Concerto in E, “La Primavera,” op. 8, no. 1, movement 1; (b) Quantz, Flute Concerto in G, QV 5:174, movement 1
8.22. Various ways of notating a tremblement appuyé (trill with extended first note): (a) d’Anglebert, Troisième Courante in G (Pièces de clavecin, 1689); (b) François Couperin, Deuxième Courante from Cinquième Ordre (Pièces de clavecin, 1713); (c) J. S. Bach, sarabande from French Suite no. 5 in G (from manuscript copy by Bach’s pupil J. C. Vogler); (d) J. S. Bach, sarabande from French Suite no. 6 in E (from manuscript copy by Bach’s pupil H. N. Gerber)
8.23. Handel, Flute Sonata in E minor, op. 1, no. 1 (HWV 379), from movement 1, mm. 6 and 20
8.24. Corelli, movement 3 from Trio Sonata in F, op. 3, no. 1
8.25. François Couperin, sarabande from Concert royal no. 1 (asterisks mark notes that anticipate the first note of a following trill)
8.26. François Couperin, gavotte from Concert royal no. 1 (asterisks mark “tied” trills)
*8.27. “Trilled turns” (marked by asterisks) from (a) d’Anglebert, [Première] Courante from Suite in G; (b) Gottlieb Muffat, allemande from Componimenti musicali; (c) J. S. Bach, sarabande from Partita no. 1 in B-flat; (d) C. P. E. Bach, movement 2 from Probestücke, no. 4, W. 63/4 (fingerings and dynamics omitted), with a possible realization of the first ornament
*8.28. Examples of the ribatutta from: (a) Monteverdi, Orfeo, act 3; (b) Froberger, Toccata 9 (1656)
*8.29. Catena di trilli (at asterisk) from Riccardo Broschi, “Son qual nave” (insertion aria for Hasse’s Artaserse), voice only
8.30. C. P. E. Bach, movement 1 from Probestücke, no. 2, W. 63/2 (fingerings and dynamics omitted)
8.31. J. S. Bach, prelude in E minor from the Well-Tempered Clavier, part 2
8.32. Instances of “tri” (trillo) from Francesca Caccini, “Così dicea la fortunata corte di paradiso,” from Musiche (Florence, 1618)
8.33. Esclamazioni from Giulio Caccini, “Deh, dove son fuggiti,” from Le nuove musiche (1601)
8.34. Bow vibrato, from (a) Marini, Sonata La Foscarina, from Affetti musicali (op. 1, 1617); (b) Uccelini, Sonata 18 for two violins, from Sonate (1645)
*8.35. Bebung (clavichord vibrato) from C. P. E. Bach, movement 2 from Probestücke, no. 4, W. 63/4 (fingerings and dynamics omitted)
*8.36. Written-out turns from Ortiz, Trattado de glosas (Rome, 1553)
*8.37. From Chambonnières, Pièces de clavecin, vol. 1 (Paris, 1670), (a) “Demonstration des Marques” (ornament table); (b) third courante and sarabande from Suite 1 (upper line only, with literal realization of ornament signs on lower staff)
*8.38. Turns from (a) C. P. E. Bach, movement 2 from Probestücke, no. 1, W. 63/1 (fingerings and dynamics omitted); (b) J. S. Bach, sarabande from First English Suite; (c) Quantz, movement 2 from Flute Concerto QV 5:174. Melody and bass lines only (inner voices omitted), with literal realization of ornament signs on middle staff
*8.39. C. P. E. Bach’s “three-note slide” (inverted turn), from (a) movement 2 from Probestücke, no. 5, W. 63/5 (fingerings and dynamics omitted); (b) “Passionslied,” W. 194/14
*8.40. Trills “from below” and “from above,” each followed by a literal realization: (a) J. S. Bach, prelude in F from the Well-Tempered Clavier, part 1; (b) Giovanni Benedetto Platti, movement 3 from Flute Sonata in D, op. 3, no. 1 (1743)
*8.41. Turns from Haydn, (a) movement 1 from String Quartet in E-flat, op. 33, no. 2 (“The Joke”), without second violin and viola; (b) movement 1 from Keyboard Sonata in C, Hob. 1:48
*8.42. C. P. E. Bach, movement 3 from Probestücke, no. 2, W. 63/4 (fingerings and dynamics omitted)
*8.43. Double appoggiaturas (Anschläge, marked by asterisks), from Quantz, Adagio in C, QV 1:7
*8.44. Dotted double appoggiaturas, with execution, from (a) C. P. E. Bach, movement 1 from from Probestücke, no. 4, W. 63/4 (fingerings and dynamics omitted); (b) J. G. Graun, Viola Sonata in C minor, GWV Av:XV:20
8.45. “Esclamationi . . . del principiar sotto la nota,” from Francesco Rognoni, Selva de varii passaggi (1620)
8.46. Slides, with realization of figured bass showing implied harmonies, from (a) Purcell, “From Rosy Bowers,” and (b) J. S. Bach, Cantata 82 (version in E minor for soprano; flute, violins and viola omitted)
8.47. Arpeggios and slides (cheutes) from D’Anglebert, Pièces de clavecin, with possible execution of the notation at the asterisks: (a) Sarabande in D; (b) Tombeau de Chambonnières
*8.48. J. S. Bach, two arpeggio passages from the Chromatic Fantasia (the second with two possible executions)
*8.49. J. S. Bach, prelude in C from the Well-Tempered Clavier, (a) early version; (b) later version
8.50. Arpeggio passages, with possible execution, from (a) Corelli, movement 2 from Violin Sonata in D, op. 5, no. 1 (without basso continuo); (b) J. S. Bach, prelude of Cello Suite no. 2 in D minor
*8.51. (a) Frescobaldi, Toccata 4 from Toccate e partite . . . libro primo (Rome, 1616); (b) J. S. Bach, Prelude in A minor (BWV 944/1), with realization for piano attributed to Max Vogrich (1894)
*8.52. J. S. Bach, courante 1 from English Suite no. 1, early version (BWV 806a), with two possible interpretations of the ornament signs in the lower staff
*8.53. J. S. Bach, sarabande from Partita no. 6 for harpsichord, with possible execution of broken chords
*8.54. J. S. Bach, air from Partita no. 3 for harpsichord (asterisk marks simultaneous acciaccatura)
*8.55. De Rore, madrigal “Anchor che col partire,” opening, cantus (upper part) only: (a) original (Venice, 1547); (b) as embellished by Riccardo Rognoni, Il vero modo di diminuire (Venice, 1592)
*8.56. (a) Francesco Rognoni, “cadences in D minor” (Cadenze in D sol re) from Selva de varii passaggi, part 1 (Milan, 1620); (b) Herbst, “simple cadence” (Cadenza semplice) from Musica moderna prattica (Frankfurt, 1658)
*8.57. Francesca Caccini, Aria di Romanesca, from Musiche (1618), from (a) stanza 1; (b) stanza 2
*8.58. “Variation” (embellishment) as elaboration of simple contrapuntal or harmonic progressions: (a) Niedt, Handleitung zur Variation (Hamburg, 1706; vol. 2 of Musicalische Handleitung); (b) Quantz, Versuch, 13.17 (Tabula 11, fig. 6)
*8.59. Corelli, movement 1 from Violin Sonata in C, op. 5, no. 3, (a) as originally published (Rome, 1700); (b) with embellishments “as he plays them” (comme il les joue, Amsterdam, 1715)
8.60. Giulio Caccini, “Amarylli, mia bella” from Le nuove musiche (Florence, 1601)
8.61. J. S. Bach, movement 1 from Violin Solo no. 1 in G minor (1720), (a) as written; (b) analysis
*8.62. J. S. Bach, Invention in C, (a) original version from Clavierbüchlein vor Wilhelm Friedemann Bach (ca. 1721); (b) embellished version ( ca. 1723)
*8.63. Cantus firmus settings from the late Middle Ages and Renaissance: (a) Kyrie Cunctipotens from Faenza Codex (ca. 1400); (b) Guglielmo Ebreo da Pesaro, Spagna (Falla con misuras, ca. 1470); (c) John Bull, Hexachord Fantasia (BuK 18, ca. 1600)
*8.64. Two passages from Bernardo Pasquini, Sonata (partimento) in E minor (ca. 1700), with possible realization (in small notes)
*8.65. Canzona 1 from Fioretti di Frescobaldi (ca. 1640), opening: (a) as notated; (2) possible realization
*8.66. Improvisatory bridge passage (“Trombon solo”) from Dario Castello, Sonata 12 for two unspecified treble instruments, trombone or “violetta,” and basso continuo, from Sonate concertate, book 2(Venice, 1629)
*8.67. Two decorated fermatas from Agricola, Anleitung zur Singkunst (Berlin, 1757)
*8.68. J. S. Bach, “Allein Gott in der Höh’ sei Ehr” (BWV 715, ca. 1715)
*8.69. Fermata from Handel, Concerto grosso in G, op. 6, no. 1 (London, 1740), solo parts only
*8.70. Handel, “Vil trofeo d’un alma imbelle,” from Poro (London, 1731: (a) cadence at the end of the A section; (b) the simpler of two cadenzas for the same passage in a manuscript copy
*8.71. Cadenza (with additional embellishments) by King Frederick II (the Great) of Prussia for Hasse, “Digli ch’io son fedele,” from Cleofide
*9.1. Handel, “O care parolette,” from Orlando (London, 1733), without strings
*9.2. Purcell, “When I am laid in earth,” from Dido and Aeneas (London, ca. 1685?), without strings
*9.3. Froberger, Canzon 2 (Vienna, 1649)
*9.4. J. S. Bach, Fugue in A-flat from the Well-Tempered Clavier, book 2 (ca. 1740); asterisks mark chromatic countersubject
*10.1. Strozzi, “Ardo in tacito foco,” (a) mm. 11–13, (b) m. 58. Accidentals shown above the staff are absent from the original
10.2. Strozzi, “Ardo in tacito foco,” opening
*10.3. Strozzi, “Ardo in tacito foco,” mm. 117–23
*10.4. Ornaments in Strozzi, “Ardo in tacito foco”: (a) intonazioni (marked by asterisks) in mm. 60–64; (b) possible esclamatione in mm. 189–93
*10.5. Strozzi, “Ardo in tacito foco,” (a) mm. 78–85; (b) possible embellishment of mm. 80–85
*10.6. Strozzi, “E giungerà pur mai,” from Arie, op. 8 (Venice, 1664): (a) “t” symbols with possible realization as tremoli; (b) “t” apparently signifying a trillo
*10.7. Possible ornaments for Strozzi, “Ardo in tacito foco”: (a) tremoli in mm. 96 and 128–29; (b) trilli in mm. 28–30 and 150
*10.8. Slurs in Strozzi, “Ardo in tacito foco,” mm. 146–51
10.9. Possible long slur in Strozzi, “Ardo in tacito foco,” mm. 91–93
*10.10. Imitation in Strozzi, “Ardo in tacito foco,” mm. 38–49, with editorial breathing signs; brackets mark imitative subject
*10.11. Strozzi, “Ardo in tacito foco,” with possible realization of the unfigured bass: (a) mm. 31–33; (b) mm. 199–206
10.12. Strozzi, “Ardo in tacito foco,” mm. 235–42, with possible realization of the unfigured bass
*10.13. Monteverdi, Combattimento, end
*10.14. Possible ornaments for Carissimi, Jephte
*10.15. Possible embellishments for Carissimi, Jephte
*10.16. Possible continuo realization for Carissimi, Jephte
*11.1. Handel, ciaccona from Lucrezia, opening
*11.2. Handel, ciaccona from Lucrezia, near end, with possible continuo realization incorporating the composer’s written-out upper part
11.3. Handel, second recitative from Lucrezia, conclusion
*11.4. Possible “appoggiaturas” (at asterisks) in passages from ex. 11.3
11.5. Possible realization of the end of ex. 11.3, with (a) “delayed” cadence and (b) a postulated solution to the supposed problem
*11.6. J. S. Bach, delayed cadences from the Ascension Oratorio (BWV 11)
*11.7. Handel, two transitions from Lucrezia
*11.8. Handel, short notation of bass notes in the final recitative from Lucrezia
*11.9. Short performance of bass notes in recitative, as illustrated in Niedt, Musicalische Handleitung, vol. 3 (Hamburg, 1717): (a) bass line as written; (b) bass line as performed
*11.10. Sostentato passage in the final recitative from Lucrezia
*11.11. Handel, first aria from Lucrezia, with possible realization of the figured bass. Brackets over the vocal part show broken (arpeggiated) chords; asterisks mark passing tones (appoggiaturas and acciacaturas)
11.12. Handel, second aria from Lucrezia, with commas added to mark possible breathing points
*11.13. Handel, first furioso passage from Lucrezia, showing possible breathing points
*11.14. Handel, second aria from Lucrezia, with commas marking possible breathing points
*11.15. Handel, potential embellishments or variations (on middle staff) for arias in Lucrezia
11.16. Handel, possible appoggiaturas (at the asterisks on the middle staff) in the first aria from Lucrezia
*11.17. Embellishments for Handel, “Lascia ch’io pianga,” from Rinaldo, based on Babell’s keyboard arrangement
*11.18. Conclusion of B section in second aria from Handel, Lucrezia: (a) as Handel wrote it; (b) as a later composer might have written it, with fermata signifying a cadenza
11.19. Handel, fermata in accompanied recitative “Comfort ye” from Messiah (upper string parts omitted)
11.20. (a) Riccardo Broschi, fermata from substitute aria “Son qual nave” for Farinelli in Hasse’s opera Artaserse; (b) a possible realization of ex. 11.19 based on ex. 11.20a (vocal part only)
*11.21. Handel, concluding furioso passage from Lucrezia
*11.22. (a) Alessandro Marcello, Oboe Concerto in D minor, arranged for keyboard by J. S. Bach (BWV 974); (b) possible realization of the figured bass in ex. 11.21 suggested by ex. 11.22a
*11.23. Virtuoso realization of the figured bass in ex. 11.12
*11.24. Handel, aria “Care mura,” from the cantata Ah, che pur troppo è vero (HWV 77)
*11.25. Two approaches to realizing the unfigured bass in the second aria from Handel’s Lucrezia: (a) a single line of counterpoint in eighth notes; (b) accompaniment chiefly in three-part chords
*11.26. Handel, arioso “Fuggite, sì fuggite” from the cantata Dalla guerra amorosa (HWV 102a), with a possible realization of the unfigured bass
12.1. Airs from Jacquet, Susanne (Paris, 1708)
*12.2. Jacquet, recitative “Ils doivent l’accuser” from Susanne
*12.3. Jacquet, L’ile de Delos (Paris, 1715), air “Durez toujours tranquilles jeux” (ornament signs in brackets are possible interpretations of the original “x” marks)
*12.4. Jacquet, recitative “Ils doivent l’accuser” from Susanne, with potential additional ports de voix shown in brackets
12.5. Jacquet, air “Indescrette jeunnesse” from Susanne (bracketed accent signs mark hemiolas)
*12.6. Jacquet, recitative “Ils doivent l’accuser” from Susanne
12.7. Rameau, recitative “Par le charme vainqueur” from Orphée
*12.8. Michel Lambert, “Mon ame, faisons un effort,” from Airs (Paris, 1660), without vocal bass part: (a) stanza 1; (b) stanza 2
*12.9. Rameau, airs from Orphée (without violin and viola da gamba): (a) “Que du bruit de tes hauts exploits”; (b) “J’ai pour témoin de ma victoire”
*12.10. Rameau, first air from Orphée, opening ritornello
*12.11. Jacquet, recit “Contre la saison,” from Susanne (bracket marks passage echoed in final air)
*12.12. Jacquet, sarabande from Suite in D minor (Paris, 1707)
*12.13. Jacquet, chaconne from Suite in D minor (Paris, 1707)
*12.14. Jacquet, courante from Suite in D minor (Paris, 1707)
*12.15. Jacquet, recitative “Ils doivent l’accuser” from Susanne, with possible realization of the figured bass
12.16. Jacquet, récit mesuré “Non, dit l’héroine constante” from Susanne, with two possible realizations of the figured bass
13.1. J. S. Bach, recitative “Ich habe genung” (movement 2) from Cantata 82
*13.2. J. S. Bach, recitative “Mein Gott, wenn kömmt das schöne Nun!” from Cantata 82
13.3. J. S. Bach, aria “Ich freue mich auf meinen Tod” from Cantata 82: (a) oboe, from autograph composing score (Bach neglected to mark the flat needed on the last note of the first full measure, but a later A has a natural sign); (b) flute from later manuscript part, with possible tonguing (articulation) after Quantz; (c) oboe from later autograph manuscript part
*13.4. J. S. Bach, aria “Ich habe genung” (movement 1) from Cantata 82, mm. 1–6
13.5. J. S. Bach, aria “Ich habe genung” (movement 1) from Cantata 82: (a) oboe, mm. 13–14; (b) bass voice, mm. 43–45; (c) oboe, mm. 39–40; (d) an alternative way of noting the latter ornament, as suggested by Bach’s ornament table in the Little Keyboard Book for W. F Bach
*13.6. J. S. Bach, aria “Ich freue mich auf meinen Tod” from Cantata 82, with possible realizations of tr signs: (a) oboe, mm. 42–44; (b) bass voice, mm. 60–61
13.7. J. S. Bach, recitative “Ich habe genung” (movement 2) from Cantata 82, mm. 1-4
*13.8. J. S. Bach, accompanied recitative “Ich will, mein Gott, dir frei heraus bekennen” from Cantata 132
*13.9. J. S. Bach, accompanied recitative “Wenn einstens die Posaunen schallen” from Cantata 127
*13.10. J. S. Bach, aria “Schlummert ein” from Cantata 82, mm. 73–78 (without oboe da caccia doubling first violin); brackets mark arpeggio motive in plain, inverted (i), and decorated (*) forms
*13.11. J. S. Bach, aria “Ich habe genung” (movement 1) from Cantata 82, mm. 51–56, with suggested dynamics (strings omitted)
*13.12. J. S. Bach, aria “Ich freue mich auf meinen Tod” from Cantata 82, mm. 1–6
*13.13. J. S. Bach, aria “Ich freue mich auf meinen Tod” from Cantata 82, mm. 18–22; brackets mark distinct motives within the vocal line
13.14. J. S. Bach, aria “Christenkinder, freuet euch” from Cantata 40; commas mark possible breathing points: (a) mm. 6–10, tenor only; (b) mm. 10–12, first horn only
13.15. J. S. Bach, aria “Ich freue mich auf meinen Tod” from Cantata 82, mm. 18–25, bass voice only, with analysis as “polyphonic” melody
13.16. J. S. Bach, aria “Ich habe genung” (movement 1) from Cantata 82, oboe part only: (a) mm. 11–14, with analysis (simplified version) on lower staff; (b) mm. 43–46, with alternative rhythmic notation and articulation syllables after Quantz on lower staff
*13.17. J. S. Bach, aria “Schlummert ein” from Cantata 82, mm. 26–27, bass voice only, with alternative rhythmic notation on lower staff
*13.18. J. S. Bach, aria “Schlummert ein” from Cantata 82, with potential embellishments on lower staff (voice only): (a) mm. 10–13; (b) mm. 62–65
*13.19. J. S. Bach, aria “Ich freue mich auf meinen Tod” from Cantata 82, (a) mm. 160–168, bass voice only, with possible ornaments in brackets; (b) a possible cadenza
*13.20. J. S. Bach, chorus “Herr, gehe nicht inst Gericht” (movement 1) from Cantata 105, initial vocal entrance (mm. 9–12), vocal parts only
*13.21. J. S. Bach, chorus “Herr, gehe nicht inst Gericht” (movement 1) from Cantata 105, transition to fugue (mm. 46–58); brackets mark subject (subj.) and countersubject (cs.)
*13.22. J. S. Bach, chorus “Dazu ist erschienen” (movement 1) from Cantata 40, (a) mm. 29–33 (tenor and bass voices only); (b) mm. 42–45 (with horns)
13.23. J. S. Bach, chorale “Ach, Herr, vergib all” from Cantata 127, last two phrases (without instrumental doublings); asterisks mark dissonant appoggiaturas and suspensions
*13.24. J. S. Bach, chorus “Herr Jesu Christ, wahr’r Mensch und Gott” (movement 1) from Cantata 127, without instrumental parts (oboes, strings, continuo), mm. 55–61
*13.25. J. S. Bach, chorus “Wohl mir, daß ich Jesum habe” from Cantata 147, (a) ritornello (opening; asterisks mark notes of the chorale melody); (b) first vocal phrase, without instrumental parts (trumpet, continuo)
*13.26. J. S. Bach, aria “Ich freue mich auf meinen Tod” from Cantata 82, mm. 86–92, with realization of the figured bass (wind and string parts omitted): (a) version for soprano; (b) version for bass
*13.27. 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
*13.28. J. S. Bach, aria “Schlummert ein” from Cantata 82, mm. 10–14 (wind and string parts omitted), with possible figured bass realization. Asterisks mark dissonant clashes between voice and realization
*13.29. C. P. E. Bach, Sonata in B-flat for flute and continuo, W. 130, movement 1, mm. 1–6, with realization of the figured bass according to the composer’s instructions, avoiding clashes with the soloist at asterisks
*13.30. J. S. Bach, aria “Schlummert ein” from Cantata 82, with possible realization of the figured bass, avoiding clashes with the soloist at asterisks: (a) mm. 37–38, (b) mm. 68–69
14.1. Frescobaldi, Toccata 1 from Toccate e partite . . . libro primo (Rome, 1616), opening
*14.2. (a) Castello, Sonata 12 for two unspecified treble instruments, trombone or “violetta,” and basso continuo from Sonate concertate, book 2(Venice, 1629); (b) Caccini, “Sfogava con le stelle,” from Le nuove musiche (Florence, 1601)
14.3. Castello, Sonata 12 from Sonate concertate, book 2(without two inner parts)
14.4. Four ways of beaming small note values in Castello, Sonata 2 from Sonate concertate, book 2, SB 4–8
*14.5. Frescobaldi, from Toccate e partite . . . libro primo: (a) Toccata 8 (brackets mark entries of imitative subject), SB 34–39; (b) Toccata 10, SB 33–39class=WordSection2>
14.6. Frescobaldi, Toccata 1 from Toccate e partite . . . libro primo, end
14.7. Frescobaldi, Toccata 1 from Il secondo libro di toccate (Rome, 1637), (a) SB 18–24; (b) SB 28–31
*14.8. Frescobaldi, Toccata 1 from Il secondo libro di toccate (Rome, 1637), SB 49–52
*14.9. Castello, Sonata 2 from Sonate concertate, book 2, SB 21–25
*14.10. Castello, Sonata 12 from Sonate concertate, book 2, SB 123–32 (without third solo part)
*14.11. Frescobaldi, Toccata 5 from Toccate e partite . . . libro primo, SB 1–5
*14.12. Frescobaldi, (a) Toccata 3 from Toccate e partite . . . libro primo, SB13–14, with (b) rhythmic interpretation of the lower part according to the composer’s instructions
*14.13. Frescobaldi, Toccata 1 from Il secondo libro di toccate, SB 1–4
14.14. Frescobaldi, Toccata 1 from Il secondo libro di toccate, SB 37–40
*14.15. Frescobaldi, Toccata 1 from Toccate e partite . . . libro primo, SB 20–25
14.16. Frescobaldi, Toccata 1 from Il secondo libro di toccate, SB 10–14. Editorial commas mark possible articulations; crescendo and decrescendo “hairpins” suggest acceleration and deceleration, respectively
*14.17. Castello, Sonata 2 from Sonate concertate, book 2 (brackets mark entries of subjects) (a) SB 31–36; (b) SB 52–59
14.18. Castello, Sonata 2 from Sonate concertate, book 2, SB 11–18 (commas mark possible phrase articulations)
*14.19. John Bull (ca. 1562–1628), Praeludium BuK 121 (complete), with fingering from London, British Library, Additional ms. 31403
*14.20. Frescobaldi (attributed), Toccata seconda from Rome, Vatican Library, Chigi ms. 25, with fingerings as suggested by (a) Diruta and (b) Banchieri, with slurs added to show groupings of notes possibly implied by the fingering
14.21. Castello, Sonata 2 from Sonate concertate, book 2, (a) SB 7–11; (b) SB 74–78
*14.22. Castello, Sonata 2 from Sonate concertate, book 2, (a) SB 21–23; (b) SB 86–89
*14.23. Castello, Sonata 2 from Sonate concertate, book 2, SB 27–29
*14.24. Monteverdi, “Saliam cantando” from Orfeo (1609), act 5
14.25. Castello, Sonata 12 from Sonate concertate, book 2, SB 1–8, with realization of the figured bass
*14.26. Castello, from Sonate concertate, book 2 (with realization): (a) Sonata 1, SB 1–6; (b) Sonata 2, SB 1–10
14.27. Castello, Sonata 2 from Sonate concertate, book 2, SB 102–6, with realization
*15.1. Corelli, Sonata op. 5, no. 1, fugue subjects from (a) movement 2; (b) movement 5
15.2. Corelli, movement 3 from Sonata op. 5, no. 1, mm. 12–15, showing all original accidentals on staff (editorial accidentals above staff)
15.3. Corelli, (a) movement 5 from Sonata op. 5, no. 3, last five measures; (b) movement 5 from Sonata op. 5, no. 10, mm. 1–4, 46–49
*15.4. (a) Corelli, movement 4 from Sonata op. 5, no. 11, mm. 1–4; (b) J. S. Bach, movement 4 (sarabande) from Cello Suite no. 5, mm. 1–4
*15.5. J. S. Bach, movement 2 (corrente) from Flute Partita, mm. 1–6, with analysis
*15.6. J. S. Bach, sinfonia for violin and orchestra (movement 1 of an unfinished cantata), BWV 1045, mm. 11–13: (a) as notated by Bach; (b) a possible realization
*15.7. Corelli, movement 2 from Sonata op. 5, no. 3, mm. 45–47: (a) as originally notated; (b) possible realization of the arpeggio passage
*15.8. Corelli, movement 2 from Sonata op. 5, no. 1: (a) mm. 1–5; (b) mm. 12–17
*15.9. J. S. Bach, movement 1 (prelude) from Cello Suite no. 6, (a) mm. 1–4, 12–15; (b) mm. 23–31
*15.10. J. S. Bach, Prelude in C from the Well-Tempered Clavier, book 1, mm. 1–4
*15.11. J. S. Bach, movement 1 (prelude) from Cello Suite no. 4, mm. 1–8
*15.12. J. S. Bach, from Cello Suite no. 5: (a) movement 3 (courante), mm. 19–24 (with added accent marks added to mark the shifting meter)
*15.13. J. S. Bach, movement 5 (chaconne) from Violin Partita no. 2, mm. 1–8
*15.14. J. S. Bach, movement 5 (chaconne) from Violin Partita no. 2, mm. 133–41, with suggested ornamentation (all ornament signs and “little” notes are editorial)
*15.15. J. S. Bach, movement 2 (loure) from Lute Suite in E, mm. 1–4 (compare the version for solo violin in ex. 6.17c)
*15.16. J. S. Bach, movement 4 (sarabande) from Cello Suite no. 5, mm. 1–4 (asterisks mark implied dissonant appoggiaturas)
15.17. Corelli, movement 3 (sarabanda) from (a) Sonata op. 5, no. 8, mm. 1–8; (b) Sonata op. 5, no. 10, mm. 1–8
15.18. Corelli, movement 4 from Sonata op. 5, no. 1, mm. 11–20 (editorial commas show phrase divisions)
15.19. Corelli, movement 4 from Sonata op. 5, no. 5, with embellishments on top staff, as published by Roger, mm. 1–5 (asterisks mark dissonant appoggiaturas)
*15.20. Corelli, movement 1 from Concerto grosso op. 6, no. 9, mm. 1–4 (concertino parts only)
*15.21. Corelli, movement 5 from Sonata op. 5, no. 4, mm. 1–5
*15.22. J. S. Bach, movement 2 (allemande) from Cello Suite no. 6, mm. 1–4
*15.23. J. S. Bach, movement 5 (sarabande) from Harpsichord Partita no. 5, mm. 1–4
15.24. Corelli, movement 1 from Violin Sonata op. 5, no. 1, with embellishments from Roger’s edition: (a) mm. 1–2; (b) mm. 12–14
15.25. J. S. Bach, movement 1 from Violin Sonata no. 1, (a) mm. 3–5; (b) mm. 8–9
15.26. J. S. Bach, movement 1 from Violin Sonata no. 1, mm. 12–13
*15.27. J. S. Bach, movement 1 from Violin Sonata no. 1, opening passage in G minor and its restatement in C minor (with analysis showing underlying voice leading): (a) mm. 1–2; (b) mm. 14–15
15.28. Corelli, Violin Sonata op. 5, no. 4, mm. 7–8, with embellishments from (a) Roger’s edition (Amsterdam, 1710); (b) Johann Christoph Pez, A Second Collection of Sonatas (London: Walsh, 1707); (c) Johan Helmich Roman, autograph manuscript (Stockholm, Kungelige Musikaliska Akademiens Bibliotek)
*15.29. Corelli, movement 3 from Violin Sonata op. 5, no. 3, mm. 1–8 (all notes smaller than an eighth are embellishments absent from the original; those in the violin part are from Roger’s edition, those in the bass are editorial)
15.30. Corelli, movement 2 from Violin Sonata op. 5, no. 1, mm. 1–10, with analysis of violin part (top staff)
15.31. J. S. Bach, movement 2 from Violin Sonata no. 1, mm. 1–6, with analysis (lower staff). Asterisks mark implied dissonant suspensions
*15.32. J. S. Bach, movement 2 from Violin Sonata no. 1, mm. 9–13
16.1. François Couperin, movement 4 (Courante à l’italienne) from Concerts royaux (Paris, 1722), no. 4, mm. 1–6; bracket indicates tierce coulée
*16.2. Leclair, movement 4 (gavotta) from Violin (Flute) Sonata op. 1, no. 2, mm. 1–4
*16.3. François Couperin, (a) movement 7 (chaconne) from Concerts royaux, no. 3, mm. 92–95; (b) movement 11 (“Air des Bacchantes”) from Les goûts-réünis (Paris, 1724), m. 1
16.4. François Couperin, movement 5 (“La vivacité) from Les goûts-réünis, no. 9, mm. 28–-31, with realization of the figured bass
*16.5. François Couperin, movement 3 (air) from Les goûts-réünis, no. 8, mm. 1–7
*16.6. François Couperin, movement 4 (gavotte) from Concerts royaux, no. 1, mm. 1–4
16.7. François Couperin, movement 5 (Echoes) from Concerts royaux, no. 2: premier couplet, (a) first phrase; (b) final phrase
16.8. François Couperin, movement 4 (sarabande) from Concerts royaux, no. 3, mm. 13–20, with optional contrepartie on top staff
*16.9. François Couperin, movement 1 (ouverture) from Les goûts-réünis, no. 8, mm. 1–9, with realization of the figured bass
*16.10. François Couperin, movement 4 (sarabande) from Concerts royaux, no. 3, mm. 1–8, with melodic line and realization of the figured bass extracted from the original (compare ill. 16.4)
16.11. François Couperin, movement 4 (“Courante à l’italienne”) from Concerts royaux, no. 4, mm. 53–57, with realization of the figured bass
*16.12. François Couperin, Sarabande La majesteuse from Pièces de clavecin . . . premier livre, mm. 1–4
*16.13. François Couperin, movement 3 (Les graces: Courante françoise) from Les goûts-réünis, no. 9, mm. 14–18
16.14. François Couperin, movement 5 (gavotte) from Concerts royaux, no. 3, mm. 1–6, with (a) implied performance of the lower staff on harpsichord
16.15. François Couperin, movement 3 (courante) from Concerts royaux, no. 3, mm. 1–6, with (a) possible second part
*16.16. François Couperin, movement 2 (Grande Ritournéle) from Les goûts-réünis, no. 8, mm. 14–18
*16.17. François Couperin, movement 1 (ouverture) from Les goûts-réünis, no. 8: (a) mm. 13–26; (b) mm. 38–45
*16.18. François Couperin, movement 2 (Grande Ritournéle) from Les goûts-réünis, no. 8, mm. 16–23
*16.19. François Couperin, movement 11 (“Air des Bacchantes”) from Les goûts-réünis, no. 8, mm. 2–6
16.20. François Couperin, movement 7 (“La douceur”) from Les goûts-réünis, no. 9, mm. 1–8
16.21. François Couperin, movement 4 (sarabande) from Concerts royaux, no. 3, mm. 9–12, with (a) optional contrepartie on top staff and (b) possible rhythmic interpretation of the main melody
*16.22. François Couperin, movement 7 (chaconne) from Concerts royaux, no. 3, mm. 9–16
*17.1. J. S. Bach, movement 9 (Badinerie) from Orchestral Suite no. 2, mm. 1–4 (flute and continuo only, without strings)
*17.2. J. S. Bach, (a) movement 2 from Fourth Brandenburg Concerto, mm. 1–5 (without ripieno strings); (b) same from Harpsichord Concerto no. 6 (BWV 1057)
17.3. J. S. Bach, movement 1 from Second Brandenburg Concerto, mm. 109–12 (without ripieno strings)
*17.4. J. S. Bach, movement 3 from First Brandenburg Concerto, mm. 55–60
*17.5. J. S. Bach, (a) movement 1 from Second Brandenburg Concerto, mm. 66–68 (trumpet and continuo only); (b) movement 3 from Cantata 130, mm. 22–25a
17.6. J. S. Bach, movement 2 from First Brandenburg Concerto, mm. 9–12
17.7. J. S. Bach, movement 2 from Italian Concerto, mm. 4–7
17.8. (a) J. S. Bach, Adagio in G (movement 1 from Violin Sonata no. 3 in C, arranged), mm. 1–4; (b) Scott Joplin, “A Breeze from Alabama” (New York, 1902), mm. 5–8
*17.9. J. S. Bach, from Second Brandenburg Concerto: (a) movement 1, mm. 6–8 (without ripieno strings); (b) movement 3, mm. 1–6
17.10. J. S. Bach, Italian Concerto: (a) movement 1, mm. 91–95; (b) movement 2, mm. 7–9
*17.11. J. S. Bach, movement 1 from Second Brandenburg Concerto, mm. 40–41 (recorder and continuo only)
17.12. J. S. Bach, movement 3 from Third Brandenburg Concerto, mm. 23–26 (violin 1 and continuo only), with (a) analysis of first violin part
*17.13. (a) J. S. Bach, movement 3 from Fourth Brandenburg Concert, mm. 23–30, recorders only (in unison), with suggested tonguing (articulation) after (b) Hotteterre, Principes de la flute traversiere, seventh edition (Amsterdam, 1728), p. 22
17.14. J. S. Bach, movement 2 from Second Brandenburg Concerto (asterisks mark dissonant appoggiaturas), (a) mm. 1–9; (b) mm. 33–37
*17.15. J. S. Bach, movement 2 from Third Brandenburg Concerto, mm. 1–4
*17.16. C. P. E. Bach, movement 1 from Keyboard Concerto in C minor (W. 5), intermediate version, mm. 174–82 (without lower strings)
*17.17. J. S. Bach, (a) movement 2 from Fourth Brandenburg Concerto, mm. 68–71 (first recorder and continuo only); (b) the same adapted for use in the Adagio of Brandenburg Concerto no. 3 (first violin and continuo only)
17.18. J. S. Bach, fugue subjects from (a) movement 3 from Fifth Brandenburg Concerto (solo violin); (b) third movement from Fourth Brandenburg Concerto (viola, originally one step lower)
*17.19. J. S. Bach, (a) movement 3 from Fourth Brandenburg Concerto, mm. 115–16 (solo violin and continuo); (b) movement 3 from Fifth Brandenburg Concerto, mm. 25–27 (solo harpsichord, without flute and solo violin)
*17.20. 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)