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Contents
Example 4.1 | Example 4.2 | Example 4.3 | Example 4.4 | Example 4.5 | Example 4.6a; Example 4.6b | Example 4.7 | Example 4.8 | Example 4.9 | Example 4.10a; Example 4.10b
Example 4.1
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Example 4.2
Correspondence between symmetric and ?folkloristic? (verbunkos) scales according to B?rdos

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Example 4.3
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Example 4.4
Two verbunkos modes on C and D as one continuous tone row (cf. ex. 4.3)
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Example 4.5
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Example 4.6
(a) A concise representation of the three main themes of the section, mm. 209?74, leading to
(b) three variants of Theme I, mm. 275?99
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Example 4.7
RH14, vivace assai: motivic similarities among the three themes
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Example 4.8
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Example 4.9
RH14, vivace assai, mm. 209?338: the relationship between verbunkos elements, the overarching A-minor melody (scale), and the three-stage tonal process
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Example 4.10
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