All other intervals were flexible, part of a continuum. Ironically, although Vincenzo successfully challenged Zarlino's mystical dependence on the all-mighty number, it was Vincenzo's son, Galileo who helped bring back the scientific, mathematical method to music. Nonetheless, with the newer system in the 17th century, the role and practice of musicians was more firmly in place, placing the emphasis on esthetic desires, not purely theoretical ones. He then proceeds to lay out a list of ornaments, each with a name borrowed from the terminology of rhetoric. In the example Burmeister gives, subsequent entries follow the initial statement at the fifth above, at the original pitch level, and at the fourth below.
Hypallage occurs when the intervals of the fugue subject are inverted.
Mimesis occurs when groups of voices enter in quasi-antiphonal homophony. Auxesis occurs in a period in which the text is repeated above a growing or rising harmony. Aposiopesis refers to the use of a general pause or silence in all the voices. Anaploke occurs in antiphonal music proper, when one choir's harmonies are repeated by the other choir, usually at or near a cadence. Palillogia is the repetition of a melodic phrase at a constant pitch level.