Limits by composer, book, or date of publication should explain themselves. To learn more about the Controlled Vocabulary and Thesaurus, see the Editor’s Forum.
types expands to allow limits final tone of the cadence, or by cadence types (such as authentic, plagal, phrygian), by various modifiers (as when a cadence is evaded or inverted), and by voice roles (depending on which of the four voice parts takes the customary motion of the superius (or cantizans) or tenor (the tenorizans). Select the latter with the voice grids.
trace motion between pairs of voices (parallel 6ths, parallel 3rds, or alternating sequences of 5ths and 3rds). You can further limit these according to voice roles (use the radio buttons to select the upper and lower voice in each pair).
are limited with voice role grids (here you select the precise order of voices, for as many voices as appropriate). For theimitative types, you can further limit according to intervals of imitation (the @1, @4, and @5 are explained in the Controlled Vocabulary). They always refer to the interval of the latest voice to enter. For the periodic entries , you can also limit by stretto fuga and invertible counterpoint (either with or without specification of voice roles). But note: some combinations are musically impossible, and so will not return results.
and Formal Patterns are explained in the Controlled Vocabulary. The repetition schemes can be tricky: they always refer back to the phrase from which they derive.
or revise your search two ways. Narrow the search according to the listing of facets provided at the right of the Results page. Broaden the search by returning to the Advanced Search page, then review and ‘uncheck’ various facets. Clear eliminates all limits. Use the voice grids to clear individual roles as needed.
the analytic facets is tricky. You cannot, for instance, reliably search for Cadences and Presentation Types at the same time. But you can combine some of the interval patterns.