Example 2. A realization of the “example” described by Ramos. As the intervals of the tenor (lower voice) increase in size, those of the added voice decrease. More

Example 3. Cardinality variants of melody M 4a from Example 2 . More

Example 1. Partial paraphrase of Gjerdingen ( 1988 : 26, example 2-11), the opening melody of Mozart's Piano Sonata K. 283, first movement, as a Meyer schema and network of relations, with hexachordal solmization syllables added by the reviewer. More

Example 2a. Baragwanath's example 6.7 (94). More

Example 2b. Baragwanath's example 6.25(a) (110). More

Example 3. Baragwanath's example 6.28(a) (122) More

Example 5. Baragwanath's example 8.17 (193). More

Figure 7. Repetition of parallel passages. Row 1: Example numbers are given for reference. Row 2: Bits of text are shown as reminders. Row 3: Parallel passages are aligned vertically, verse numbers are in boldface, note names indicate roots of initial and final chords, and italicized letters More

Figure 2. A line of fifths representation of Example 8, with alternative readings indicated by gray arrows. More

Figure 1. Steinbeck's example 1.1, a transcription of the opening of “Ornette,” by the Roscoe Mitchell Sextet. NB: all instruments notated at transposing pitch, though discussed in the main text at concert pitch. Initials to the left of each stave indicate the players. More

Figure 3. Steinbeck's example 1.4, a transcription of the opening of “The Little Suite,” by the Roscoe Mitchell Sextet. Triangles indicate improvised sections. More

Figure 4. Steinbeck's example 9.4, a form chart for three consecutive movements in Nicole Mitchell's Mandorla Awakening II. More

Example 4. Baragwanath's examples 8.3(a–b) (169–70): signs flatter than a slur are “traits,” signifying uniting several notes under a single syllable. More

Example 1. Handel, Messiah “I know that my Redeemer liveth,” mm. 1–18 (Ito 2020 : 148, example 8.17). More

Example 6. Transcription excerpt, South, Grappelli, and Reinhardt's improvisation to BWV 1043, mvt. 1. Reproduced from Givan 2006 : example 1 . More

Example 10. Re and sol . More

Example 11. Hexachordal mutations. More

Example 12. Acquired hexachords. More

Example 29. Active or stable? More

Example 1. The standard backbeat. More