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Pictured in pianist and composer Gabriel Faure, recognized by Ratliff for his emotionally wrenching  third movement of "Piano Quintet no. 2."
credit: http://wegotguru.com/board/post/0563cad67522fc198dee8690630e475a#.WhuS-EqnHIU

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Pictured is Donald Lawrence, a gospel artist Ratliff discussed that used linking in his song "Spiritual."
credit: https://www.pinterest.com/trinityucc/the-experience-with-donald-lawrence/

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This is my own personal example of linking in music. This Kanye West song begins with many layered voices as the beginning singing the exact same lyrics and rhythms, moving together at the same time. I think this exemplifies linking because every voice (while all his own) are in unison. There is also an emotional linking to the song because it is obviously about heartbreak. This layering of voices at the beginning creating a minor chord of sorts gives you that melancholic feeling inside and puts you into the shoes of someone who is heartbroken.

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"We recognize implicitly the ways in which certain pieces of music show supreme organization, but seem a result of form cumulatively developed outward from the center . . . or from the beginning of a piece, since music moves linearly through time." (p. 209)

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Ratliff uses Gabriel Faure's third movement of Piano Quintet no. 2 as an example of a song that exemplifies linking. He explains it in various ways, beginning with how the musical elements themselves connect. He states that "there is a three-note descending motif, pushed through different keys and backgrounds of harmony, developing slowly and intensely and contrapuntally." He then continues to explain the emotional link he has with this movement of the piano piece.

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Faure - Piano Quintet No.2 Op.115, Ⅲ.Andante moderato

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Gabriel Faure - Piano Quintet No.2 Op.115 Ⅲ.Andante moderato Pascal Rogé, piano Quatuor Ysaÿe

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According to Ratliff's chapter on the element, linking can apply to both within the individual instrument (what notes and rhythms they are playing) and to a group setting (how these players are combining these elements together). This link also transcends musicians and also reaches the listeners, because if there is no connection with a listener, what is the point of music?

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"But music doesn't have to be set at right angles. It does not have to be square or symmetrical or neatly sequential. There are other shapes and motions a musician or band or composer can make to achieve the condition of music." (p. 207)