The Short

Ex. 3.72. Schumann, Album für die Jugend, ‘JÄrgerliedchen’
Ex. 3.73. Schumann, Violin Sonata op. 121/i
Berlioz's use of ⌃ is similarly ambiguous. Hugh Macdonald has suggested that its difference from > lies in the
diminuendo element, 233 but this is not always clear, for instance when the two signs are used in fast music, in which any
perceptible, or even notional diminuendo would be impossible (Ex. 3.74.) DvoŘák evidently intended the sign
normally to be used in a forceful context; in his Violin Sonata it occurs in ff passages while > occurs in fpassages (Ex.
3.75(a).) Its greater implication of strength for DvoŘák is also suggested by a passage in his String Quartet op. 106,
where the viola part is evidently meant to be more prominent than the violin (Ex. 3.75(b).) A revealing example of
Bruckner's employment of ⌃ can be found in his Third Symphony, where the autograph clearly shows him using ⌃
over a succession of notes in the wind instruments while the strings simultaneously have a succession of down-bow
signs together with the instruction Streicher sÄmmtlich alles abwarts gestrichen (all strings play
Ex. 3.74. Berlioz, Les Troyens, ‘Danse des esclaves’
233 ‘Two Peculiarities of Berlioz's Notation’, Music & Letters, 50 (1969), 32.
NOTATION OF ACCENTS AND DYNAMICS 123