EXAMPLE TESTING

Example 1. Rameau’s (1722, 1760) nomenclature of chords

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Example 2. Chords and their figures (after Rameau 1722, 1760)

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Example 3. Règle de l’octave (Rameau 1722)

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Example 4. Delair’s (1724) leaping bass

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Example 5. Older scale harmonization models

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Example 6. Realization of Campion’s (1730) basse continue

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Example 7. Chord inversions, delayed resolutions, and disjunct resolutions (Rameau 1722)

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Example 8. $\hat{2}$–$\hat{5}$–$\hat{1}$ cadences

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Example 9. Campion’s cadential formulas

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Example 10. The règle with its $\hat{4}$–$\hat{5}$–$\hat{1}$ cadential formula

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Example 11. Chords of the dominant seventh and of the superfluous second

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Example 12. Campion, Apollon! C’est toi que j’implore and Enseigne-moi le beau mélange

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Example 13. Saint-Georges ([1724?]), Leçon sur le ton de ré mode mineur

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Example 14. A comparison of Rameau’s (1722) “most essential chords” with those present in his régle

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Example 15. Corrette’s (1753) règle de l’octave with its “extraordinary” chords

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Example 16. Chords “by supposition”

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Example 17. Alternative descending octave according to Gervais (1733)

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Example 18. Rameau’s (1731) standardized règle de l’octave with its “extraordinary” chords

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Example 19. Couperin’s (1698?) expanded scale harmonization model

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Example 20. Fleury’s (1660) cadential model

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Example 21. Rameau’s (1722) cadential models

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Example 22. “Extraordinary” bass motions drawn from the perfect cadence and the irregular cadence

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Example 23. Harmonic content of the règle de l’octave

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Example 24. “Of all the chords possible on the same note” (Corrette 1753, 66)

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Example 25. Modulations

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Example 26. Reinterpretations of cadential $\hat{6}$

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Example 27. Improvised, unmeasured harmonic framework

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Example 28. Refinement of the bass line

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Example 29. C.P.E. Bach (1762, 340–[43]), Fantasia in D major with its framework

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Example 30. Fançois Couperin, Septiéme Concert “Prelude” (1724)

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