Figure 2. Choreomusical and choreographic grouping dissonances (1 = eighth note). More

Example 6. G3/2 (1 = quarter note) introduced as a submerged dissonance. Tchaikovsky, Nutcracker , act 1, no. 9, Waltz of the Snowflakes, mm. 25–39. More

Example 27. Labeling chromatic semitones in the bass (ii) when a note of a chromatic semitone supports two leading tones in the upper voices. More

Example 28. Labeling chromatic semitones in the bass (iii) when the second note of the chromatic semitone thwarts a leading tone. More

Example 38. Idioms where the first note is a non-leading-tone member of an imperfect consonance. More

Figure 6. The rhythms of Figure 4 in the Cartesian space for the half-note periodicity. More

Example 6. Five-note motive variant in Beethoven’s Symphony no. 5, op. 67, i, mm. 39–40, second violin. More

Example 24. Stable notes (indicated by hollow notes). More

Figure 2. Footwork pattern for the on-1 salsa basic (single dancer on score, noting contour and durational accents). C = large contour accent; c = small contour accent; D = (interonset) durational accent; R = right foot; L = left foot. This footwork is from the follow's perspective. To obtain More

Example 26. Labeling chromatic semitones in the bass (i) when one or both notes of the chromatic semitone are overdetermined leading tones. More

Example 15. Animals as Leaders, “The Brain Dance” (2:23–2:54). Snare ghost notes not shown. More

Example 15. Animals as Leaders, “The Brain Dance” (2:23–2:54). Snare ghost notes not shown. More