Guide to Musical Examples in Grove Music Online
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- Early bolero rhythms
- Cinquillo rhythm
- Tresillo rhythm
- Ravel: Bolero (1928), recurrent underlying rhythm
- Rhythmic features of the French contredanse
- Cotillons subsumed into the contredanse genre
- Contredanse rhythms c1750–70
- Contredanse in Mozart
- 'Reel' rhythm used in Beethoven: 12 Contredanses for orchestra (1802)
Beethoven: Sonata in G major op.31 no.1, 1st movt
Rhythmic ostinato used in the habanera
'Now make we mirthë', MB, iv (1952), no.9
Machaut: Fons tocius/O livoris/Fera pessima, first three (of nine) taleas (I, II, III) to two color statements (C1, C2). Consistent isorhythm in upper parts across talea joins are shown by broken square brackets.
Syncopated rhythms used in the krakowiak
- Swabian drum-call
- French drum-call (T. Arbeau: Orchésographie, 1588)
- Swiss drum-call (Arbeau)
- Triple drum-call (Arbeau)
- Basic mazurka rhythm
- Characteristic mazurka rhythms
- Mazurka rhythm combined with goral (highland) music, Szymanowski: op.50 no.1
Liszt: Piano Sonata
- Rhythmic ostinato on a single pitch, Jolivet: Cinq danses rituelles, no.1 (1939)
- Rhythmic ostinato on non-repeating pitches, Purcell: 'The pale and the purple rose'
- Melodic phrase including the repetition of the rhythmic structure, Purcell: 'A prince of glorious race'
- Ostinato rhythm applied to chords with no harmonic function, Ligeti: Hungarian Rock (1978)
Characteristic polonaise rhythm
- Two four-item rhythmic series employed by Webern
- Rhythmic series analogous to ex.9 produced by interpreting pitch-class numbers as time-point numbers, after Babbitt
Tango accompaniment patterns
Beethoven: Piano Sonata op.14 no.2, 3rd movt
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