I believe that Chopin's Revolutionary Étude is a perpetuum mobile. Am I right? --Stratford15 01:51, 1 October 2006 (UTC)
I have noticed a recurring "moving eighth note line" in much of Hans Zimmer and his coworkers' work. The notes (accompaniment) aren't actually a melody, but rather along the lines of FFDDFFDDFFDDFFDD etc. Is this an example of Perpetuum mobile? (If one needs to hear an example, look up "07 Bumblebee" from Steve Jablonsky's score to the film "Transformers". It will be in string instruments (starting around C3 and ascending in pitch) around 1:35 to 2:45 (most audible around 2:38) in the track. (It continues on in percussion.) -RadicalOne•Contact Me•Chase My Tail 02:49, 27 January 2010 (UTC)
- The page shows two different definitions of the term. What you have shown appears to fit the second definition, where the accompanying bassline repeats for a long time. (I suppose Pachelbel's Canon fits this as well, given the eight cello notes that repeat throughout the piece?) Aurora Illumina 02:51, 5 February 2010 (UTC)
- Except that happens in most pieces, does it not? The example here is more centered on the moving eighth notes, as it is not simply background. -RadicalOne•Contact Me•Chase My Tail 03:19, 5 February 2010 (UTC)
I didn't bother digging into the history, but I suspect that the examples were originally chosen to only refer to the second type of perpetuum mobile (repeating movements without stopping melody). However there are clearly now examples that fit the first description (fast continuous notes for an extended period), so I reorganized the page and altered the wording to simply make the examples a separate section, since they no longer belonged under the second type.
I do think it would be valuable to sort out the examples to indicate which of the two types they are, but the information simply isn't there currently to do so. If people tag each of the examples with what type they are, we can go back through and split them into two groups. 220.127.116.11 (talk) 23:17, 29 April 2010 (UTC)