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Post-tonal lead-ins?

Does anyone know a good example of an Eingang (lead-in) from a composition written in a post-tonal or atonal idiom? Thank you!

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  • Some good examples are Schoenberg, op. 14, no. 1, mm. 1–3; op. 15, no. 14, m. 1; and op. 21, no. 17, m. 1 with the pickup (the canonic entries in the viola and clarinet prepare the vocal entry). Another is op. 21, no. 8, mm. 1–2, although some might consider it a kind of motto. Other examples that are more accompanimental (which some might understood as its own category) are op. 11, no. 2, m. 1; op. 19, no. 2, mm. 1–2; and op. 19, no. 6, mm. 1–2.







  • Thank you Matthew. Those are very helpful. Are there any examples of lead-ins that connect the end of one section to the start of another in the manner of a Mozart Concerto Rondo, for example?

    Much appreciated!