These ideas are an attempt to explain some functional musical gestures shaped with the help of language. Three perspectives are considered. First: the imitating archetypal patterns of speech; second, those adopted from the syntax process; and third, the definition of grammar. These hypotheses were risen in an earlier work of mine without further discussion or argumentation. They have been taken up here again to clarify what could be considered the attributes of the Italian influence that the legion of analysts and commentators of Baroque, preclassic and classic music identify without feeling the need to point them out. Too often being classified as having Italian influence is equal to denoting "a certain grace" of the melody in the ultramontane production during the eighteenth century. Meanwhile, the French style merely identifies certain rhythms established by the lullyenne opening detect and ineffable "majesty" in the work of the heirs of the Versailles' aesthetic. By this work I aim to point out in a more specific way the characteristics of both styles.