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

Figure 4.2. A . Three-note set-class space, with regions corresponding to clustered (triangle), tertian (quadrilateral), quartal (pentagon), and equipollent (oval) set-classes. Small italic labels show equal-tempered chromatic sets; large bold labels show equiheptatonic set-classes. B . Single More

Figure 8.3. Barry Harris alternating between 0246 tetrachords of an eight-note scale, each decorated with an appoggiatura. The example comes from Bicket 2001 . More

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 24. Stable notes (indicated by hollow notes). 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

Figure 18. Agogically accented notes from Miles Davis's first solo in Flamenco Sketches , composed by Davis and Bill Evans, depicted in scale degree versus onset beat performance space. More