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The author discusses the contributions of Markman’s text (this issue) focusing on similarities and differences in how he and this author use rhythm as a musical metaphor for the interactional processes constituting a psychoanalytic encounter. This review emphasizes 1) Markman’s unique sense of reverie, 2) his thinking about rhythm in terms of embodied registrations, and, 3) the difference between Markman’s unit of analysis and that frequently used by this discussant for describing embodied registrations.