Example 10. The first two dance positions of the first movement and the first two dance positions of the third-movement climax, compared. BWV 1043, mvt. 1, m. 1; mvt. 3, m. 127. More

Image 1. Two representations of a meter. More

Image 11. Diagrams of the last two figures of “Les spectacles.” More

Example 4. A Mozart theme in comparison to two themes from La Cuisse. More

Figure 4. The rhythms of first two parts of Music for Pieces of Wood (a and b) and a different truncation of the first rhythm (c). More

Figure 9a. Quinn's fuzzy C + SIM formula for two fuzzy contours (Quinn 1997 : 257). More

Figure 4. Two analyses from Auerbach of the secondary theme from Rossini's overture to The Barber of Seville . More

Figure 28. The vibraphone part from Sextet iv (a) and its spectrum with those of the two canonic configurations (b). 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

Figure 13. The basic pattern of Violin Phase (a), the double-stops of the pattern (b), and spectra of the double stop rhythm and two canons that serve as the goals of phasing processes (c). More

Figure 1. Footwork pattern for the on-1 salsa basic (single dancer, bird's-eye perspective on floor). Dark footprints = active feet (motion); light footprints = inactive feet (no motion). This footwork is from the follow's perspective. To obtain the lead's footwork, switch the two temporal More

Example 1a. Choreographic 4-layer against the music's 2- and 6-layers (1 = eighth). Dancers' counts are notated above the dance staff. Each dance count “4” is marked choreographically. J. S. Bach, Concerto in D minor for Two Violins, BWV 1043, mvt. 3, mm. 127–30. More

the lead's footwork, switch the order of the two measures. More