Method	Sound File	Comment
(i)	`Bechet-GGate`	demonstrates synchronization
(i)	`Bechet-Glennie`
(i)	`Blumberg-Bygon`
(i)	`Blumberg-Glennie`
(i)	`Blumberg-GGate`
(ii)	`Joplin-Blumberg`	method simplifies the sound
(ii)	`Blumberg-Glennie`	marimba becomes a chime
(iii)	`Joplin-Blumberg`	cross two pianos
(iii)	`Blumberg-Joplin`	cross two pianos
(iii)	`Bechet-Bygon`	instruments with vocal color
(iii)	`Dorsey-Joplin`	horns take rhythm from piano
(iii)	`GoldenGate-Bygon`	banjo strum applied to voices
(iii)	`Kukuru-Bechet`	strumming horns
(iii)	`Blumberg-Kukuru`	piano-banjo hybrid
(iii)	`Bygon-MamaSue`	bluegrass with a wah pedal
(iii)	`Blumberg-VanNiel`	piano-guitar mixture
(iv)	`Joplin-Blumberg`	beat boundaries perceptible
(iv)	`Kukuru-Kukuru`	rhythmic simplification
(v)	`Bechet-Blumberg`
(vi)	`Bechet-Kukuru`
(vii)	`Blumberg-Glennie`
(vii)	`Bygon-Blumberg`

Original performances are described in this table and methods refer to the ways (i)-(vii) of combining the merged spectra in Sect. 10.7.