Timbral shifts: Schubert, Symphony no. 9 in C major, i, mm. 594–602]

Timbral echo: Sibelius, Symphony no. 2 in D major, ii, mm. 120–128

Antiphonal contrast: Haydn, Symphony no. 100 in G major (Military), ii, mm. 61–64

Timbral juxtapositions: Sibelius, Symphony no. 2, ii, mm. 67–75.

Sectional boundaries: Dolan’s (2013b) orchestral graph of Haydn, Symphony no. 100, ii. Colors represent different instruments and the line thickness corresponds to notated dynamics.

Tchaikovsky: Symphony No. 4, 3rd Movement, m. 194-197

Saint-Saëns: Carnival of the Animals, No. 10, Volière (Aviary), m. 6-15 (rehearsal number 1)

Rimsky-Korsakov: Russian Easter Overture, rehearsal letter C

Rossini: William Tell Overture, m. 209-212 (rehearsal letter G)

Debussy: Prélude à l’après-midi d’un faune, m. 21-30 (rehearsal number 2-3)

Brahms: Symphony No. 4, 4th movement, m. 89-105

Beethoven: Symphony No. 3 “Eroica,” 4th movement, mm. 170-200