Particularly in the Chopin, Berry examines how the harmonies exist within the meter. The Chopin provides good examples of how harmonic progressions may imply certain rhythmic articulations. For example, resolving pedals, moving to V, Moving to I, or any other movement may call for slowing down or accelerating. Examples in the Bach piece were of harmonic progressions proceeding to what Berry calls accented areas. These accents are shown as either a pitch or a harmony in the diagram that is illustrated.
Harmonies often imply anticipation, reaction, reverberation and other things that affect the pulse.
A sense of shortening or elongating can be created if harmonies are interpreted this way. He also discusses the affect of each beat within a given measure. An anacrusis can give the affect of leading to the next measure. There are specific examples given of four bar phrases and tonic elaboration in the Bach. Berry goes on to discuss problems with Riemann, Schenker, and Komar's views on rhythms.