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Not entirely sure that this is a pure example of the rhythmic fakeout, but the first movement of CPE Bach's Bb Sinfonia starts with held tones answered by moving lines; the precise relation of both to the tempo isn't entirely ambiguous, but neither is it entirely clear. <br><br>This example raises the question for me: is what London is talking about, and is what you're interested in, a particular subclass of rhythmic ambiguity? i.e., that would also include Brahms's <i>Scheintakte</i> and Beethoven's bar groupings that sound like beat groupings, e.g. the scherzo to the Ninth? Or is there another phenomenon here?<br><br>Michael Morse<br>Trent University Peterborough/Oshawa<br> </body>
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