Editing Perpetuum mobile (section)

==Types of ''perpetuum mobile'' composition==
[[File:Chopin sonata2 finale.svg|thumb|550px|A well-known example as a technique is the ''presto'' finale of [[Frédéric Chopin]]'s ''[[Piano Sonata No. 2 (Chopin)|Piano Sonata No. 2]]:'' This figuration of rapid triplet quavers (eighth notes) continues for the duration of the movement.]]
{{Listen|type=music|filename=David Popper - Elfentanz (Hans Goldstein, cello).ogg|title="Elfentanz"|description=A ''perpetuum mobile'' for cello and piano by [[David Popper]], consisting of continuous ''spiccato''. Hans Goldstein (cello) and Mellicia Straaf (piano).}}
As a distinct composition, ''perpetuum mobile'' can be defined as one in which part or most of the piece is intended to be repeated an often unspecified number of times, without the "motion" of the melody being halted when a repeat begins.

[[Canon (music)|Canons]] are often intended to be performed in a ''moto perpetuo'' fashion, and can thus be called ''canon perpetuus''.

In some cases the repeats of a "perpetuum mobile" piece are at a different pitch,  a [[Modulation (music)|modulation]] or a [[chord progression]] occurs during the repeatable part. Some of the ''riddle canons'' of [[Johann Sebastian Bach|Bach]]'s {{lang|de|[[The Musical Offering|Das Musikalische Opfer]]}} are examples of this particular kind of ''perpetuum mobile''/''canon perpetuus''.{{Citation needed|date=August 2009}}

''Perpetuum mobile'' as a [[Music genre|genre]] of separate musical compositions was at the height of its popularity by the end of the 19th century. Such pieces would often be performed as virtuoso [[encore (concert)|encore]]s, in some cases increasing the tempo along the repeats.