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Classical and Romantic Performing P
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Classical and Romantic Performing P
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To Dorothea, who will not read this
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Preface This is the book we have be
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Acknowledgements This book is the r
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Contents INTRODUCTION 1 1ACCENTUATI
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16 PARALIPOMENA 588 The Fermata 588
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Introduction A comprehensive study
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INTRODUCTION 3 supremacy with vario
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INTRODUCTION 5 crescendo or diminue
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1 Accentuation in Theory Accentuati
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and wished to replace it with a cre
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Similar hierarchical principles wer
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Ex. 1.4. Löhlein, Anweisung zum Vi
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CATEGORIES OF ACCENTUATION 15 thems
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CATEGORIES OF ACCENTUATION 17 in th
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aspects of accentuation, however, t
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eats, for the accentual relationshi
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Ex. 1.12. Mozart, Violin Sonata K.
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Ex. 1.15. Türk, Klavierschule, I,
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Ex. 1.16. Sulzer, Allgemeine Theori
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2 Accentuation in Practice In his d
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INDICATIONS OF ACCENT 31 already be
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Ex. 2.2.Türk, Klavierschule, VI,
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and in playing them a considerable
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makes evident the tonality must rec
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Syncopation was, however, often des
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Ex. 2.17.Baillot, L'Art du violon,
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Ex. 2.19.Callcott, Musical Grammar,
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Ex. 2.22.Weber, Mass in E flat J. 2
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INDICATIONS OF ACCENT 47 Ex. 2.24.(
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Ex. 2.27.Garcia, New Treatise, 52 E
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INDICATIONS OF ACCENT 51 all strong
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the first note must not only be mad
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Some revealing examples of this typ
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ass voice by the most distant of hi
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3 The Notation of Accents and Dynam
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Reichardt's assumption that perform
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large number of works where the abs
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Ex. 3.5. Schumann, Violin Sonata op
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NOTATION OF ACCENTS AND DYNAMICS 67
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Ex. 3.11. Bennett, The Naiads Forte
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Ex. 3.13. Haydn, String Quartet op.
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interesting use of fp by Mozart occ
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NOTATION OF ACCENTS AND DYNAMICS 75
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Ex. 3.21. Schumann, Fourth Symphony
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NOTATION OF ACCENTS AND DYNAMICS 79
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Ex. 3.25. Haydn, String Quartet op.
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Ex. 3.28. Beethoven, String Quartet
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Ex. 3.31. Cherubini, Requiem in C m
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Ex. 3.33. Spohr, String Quartet op.
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marking may have been seen as havin
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Ex. 3.38. Haydn, String Quartet op.
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NOTATION OF ACCENTS AND DYNAMICS 93
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Ex. 3.43. Brahms, Piano Trio op. 8/
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The number of signs introduced duri
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NOTATION OF ACCENTS AND DYNAMICS 99
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NOTATION OF ACCENTS AND DYNAMICS 10
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separation between notes would also
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Ex. 3.54. Schumann, Album für die
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NOTATION OF ACCENTS AND DYNAMICS 10
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NOTATION OF ACCENTS AND DYNAMICS 10
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Ex. 3.63. Haydn, Symphony no. 104/i
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Ex. 3.66. Meyerbeer, Les Huguenots,
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occurs not only in piano contexts,
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stronger attack followed immediatel
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NOTATION OF ACCENTS AND DYNAMICS 11
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Ex. 3.70.cont. (c) NOTATION OF ACCE
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Ex. 3.72. Schumann, Album für die
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Ex. 3.76. Bruckner, Third Symphony,
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Ex. 3.78. Beethoven, String Quartet
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NOTATION OF ACCENTS AND DYNAMICS 12
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Ex. 3.83. Liszt, Eine Faust-Symphon
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NOTATION OF ACCENTS AND DYNAMICS 13
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NOTATION OF ACCENTS AND DYNAMICS 13
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Ex. 3.91. Marx, Universal School, 1
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ARTICULATION AND PHRASING 139 phras
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ARTICULATION AND PHRASING 141 The d
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phrase divisions very clear, it was
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Ex. 4.7. Türk, Klavierschule, VI,
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ARTICULATION AND PHRASING 147 Ex. 4
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Ex. 4.12. D. Corri, A Select Collec
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noting, however, that this advice s
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ARTICULATION AND PHRASING 153 that
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From the mid-nineteenth-century sin
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Ex. 4.26. García, New Treatise, 48
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Ex. 4.30. García, New Treatise, 49
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manner, perhaps illustrating a more
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notes as dotted notes this sweet so
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Ex. 4.39. Joachim and Moser, Violin
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ARTICULATION AND PHRASING 167 As a
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STACCATO, LEGATO, AND NON-LEGATO 16
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touch and the staccato. 308 Türk g
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STACCATO, LEGATO, AND NON-LEGATO 17
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STACCATO, LEGATO, AND NON-LEGATO 17
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as well as the musicians with whom
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STACCATO, LEGATO, AND NON-LEGATO 17
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STACCATO, LEGATO, AND NON-LEGATO 18
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Ex. 5.11. Weber, Der Freischütz, n
- Page 398: Ex. 5.13. Weber, Mass in E flat J.
- Page 402: STACCATO, LEGATO, AND NON-LEGATO 18
- Page 406: Ex. 5.19. Paisiello, La Passione, P
- Page 410: Ex. 5.22. (a) Spontini, La Vestale
- Page 414: Ex. 5.25. Beethoven, String Quartet
- Page 418: Ex. 5.28. Bruch, Violin Concerto in
- Page 422: Ex. 5.33. Tchaikovsky, Symphonie pa
- Page 426: sound and to have staccato or non-l
- Page 430: DOTS AND STROKES 201 Knecht (1803,)
- Page 434: Ex. 6.1. Weber, Der Freischütz, no
- Page 438: Ex. 6.3. Rossini, Semiramide, overt
- Page 442: interpret), but there appears to be
- Page 446: Ex. 6.6. Beethoven, Violin Sonata o
- Page 452: 212 NOTATION OF ARTICULATION AND PH
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236 NOTATION OF ARTICULATION AND PH
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238 NOTATION OF ARTICULATION AND PH
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240 NOTATION OF ARTICULATION AND PH
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242 NOTATION OF ARTICULATION AND PH
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244 NOTATION OF ARTICULATION AND PH
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246 NOTATION OF ARTICULATION AND PH
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248 NOTATION OF ARTICULATION AND PH
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250 NOTATION OF ARTICULATION AND PH
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252 NOTATION OF ARTICULATION AND PH
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254 NOTATION OF ARTICULATION AND PH
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256 NOTATION OF ARTICULATION AND PH
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258 NOTATION OF ARTICULATION AND PH
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260 STRING BOWING FIG. 7.1. Woldema
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262 STRING BOWING were many accepte
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264 STRING BOWING Ex. 7.2. (a) Picc
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266 STRING BOWING Ex. 7.2.cont.
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268 STRING BOWING Dictionary of Mus
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270 STRING BOWING requires the same
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272 STRING BOWING were still oppose
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274 STRING BOWING extremely exact.
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276 STRING BOWING From this and oth
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278 STRING BOWING style was modifie
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280 STRING BOWING often, one violin
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8 Tempo Historical evidence and con
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284 TEMPO tempo when once taken, he
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286 TEMPO Presto of the fourth move
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288 TEMPO different traditions ofte
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290 TEMPO Late Eighteenth-Century a
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292 TEMPO (particularly in England
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294 TEMPO In his discussion of 2/4,
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296 TEMPO the so-called chamber sty
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298 TEMPO 1791. 556 Comparison of T
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300 TEMPO assumes that, in general,
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302 TEMPO Table 8.4. Beethoven's Me
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304 TEMPO courtly dances, the yards
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306 TEMPO Ex. 8.1.Hummel, A Complet
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308 TEMPO Ex. 8.3.Hummel, A Complet
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310 TEMPO fast as smaller notes in
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312 TEMPO composer. We are not accu
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314 ALLA BREVE same problem bedevil
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316 ALLA BREVE true value and is on
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318 ALLA BREVE mixture of antiquari
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320 ALLA BREVE striking. It is like
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322 ALLA BREVE cases, however, move
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324 ALLA BREVE Table 9.2. The Relat
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326 ALLA BREVE Table 9.3. The Relat
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328 ALLA BREVE Table 9.4. The Relat
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330 ALLA BREVE Table 9.5. The Relat
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332 ALLA BREVE R11b Un poco lento
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334 ALLA BREVE passionato ? = 84 ?
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10 Tempo Terms As the connotations
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338 TEMPO TERMS derive from them, h
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340 TEMPO TERMS mark, a tempo term,
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342 TEMPO TERMS Not all musicians,
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344 TEMPO TERMS of semiquavers than
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346 TEMPO TERMS The metronome marks
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348 TEMPO TERMS Ex. 10.1.cont. (b)
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350 TEMPO TERMS ‘andante con moto
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352 TEMPO TERMS slower than ‘anda
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354 TEMPO TERMS In Rossini's music,
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356 TEMPO TERMS than that indicated
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358 TEMPO TERMS gave metronome mark
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360 TEMPO TERMS and usually regarde
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362 TEMPO TERMS note a small gap oc
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364 TEMPO TERMS Maestoso Löhlein c
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366 TEMPO TERMS Allegretto Reichard
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368 TEMPO TERMS useful to consider
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370 TEMPO TERMS there was a very ma
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372 TEMPO TERMS seem faster. Wagner
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374 TEMPO TERMS Cantabile ‘Cantab
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376 TEMPO MODIFICATION certain spec
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378 TEMPO MODIFICATION (b) There ca
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380 TEMPO MODIFICATION Ex. 11.2. T
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382 TEMPO MODIFICATION remarking th
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384 TEMPO MODIFICATION a nicety in
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386 TEMPO MODIFICATION the middle c
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388 TEMPO MODIFICATION regards regu
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390 TEMPO MODIFICATION surpasses it
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392 TEMPO MODIFICATION noted for hi
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394 TEMPO MODIFICATION Conservatoir
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396 TEMPO MODIFICATION Modication o
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398 TEMPO MODIFICATION Türk had st
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400 TEMPO MODIFICATION Ex. 11.8. (a
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402 TEMPO MODIFICATION Ex. 11.9.con
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404 TEMPO MODIFICATION Ex. 11.9.con
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406 TEMPO MODIFICATION Ex. 11.12. B
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408 TEMPO MODIFICATION Ex. 11.14.co
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410 TEMPO MODIFICATION Ex. 11.16.co
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412 TEMPO MODIFICATION Ex. 11.17. C
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414 TEMPO MODIFICATION case, like a
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416 EMBELLISHMENT, ORNAMENTATION, I
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418 EMBELLISHMENT, ORNAMENTATION, I
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420 EMBELLISHMENT, ORNAMENTATION, I
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422 EMBELLISHMENT, ORNAMENTATION, I
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424 EMBELLISHMENT, ORNAMENTATION, I
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426 EMBELLISHMENT, ORNAMENTATION, I
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428 EMBELLISHMENT, ORNAMENTATION, I
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430 EMBELLISHMENT, ORNAMENTATION, I
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432 EMBELLISHMENT, ORNAMENTATION, I
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434 EMBELLISHMENT, ORNAMENTATION, I
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436 EMBELLISHMENT, ORNAMENTATION, I
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438 EMBELLISHMENT, ORNAMENTATION, I
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440 EMBELLISHMENT, ORNAMENTATION, I
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442 EMBELLISHMENT, ORNAMENTATION, I
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444 EMBELLISHMENT, ORNAMENTATION, I
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446 EMBELLISHMENT, ORNAMENTATION, I
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448 EMBELLISHMENT, ORNAMENTATION, I
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450 EMBELLISHMENT, ORNAMENTATION, I
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452 EMBELLISHMENT, ORNAMENTATION, I
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454 EMBELLISHMENT, ORNAMENTATION, I
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456 APPOGGIATURAS, TRILLS, TURNS fo
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458 APPOGGIATURAS, TRILLS, TURNS Ex
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460 APPOGGIATURAS, TRILLS, TURNS th
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462 APPOGGIATURAS, TRILLS, TURNS 6)
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464 APPOGGIATURAS, TRILLS, TURNS On
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466 APPOGGIATURAS, TRILLS, TURNS Ex
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468 APPOGGIATURAS, TRILLS, TURNS Ex
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470 APPOGGIATURAS, TRILLS, TURNS De
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472 APPOGGIATURAS, TRILLS, TURNS Ex
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474 APPOGGIATURAS, TRILLS, TURNS Ex
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476 APPOGGIATURAS, TRILLS, TURNS co
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478 APPOGGIATURAS, TRILLS, TURNS Ex
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480 APPOGGIATURAS, TRILLS, TURNS Ex
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482 APPOGGIATURAS, TRILLS, TURNS Ex
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484 APPOGGIATURAS, TRILLS, TURNS Ex
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486 APPOGGIATURAS, TRILLS, TURNS sl
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488 APPOGGIATURAS, TRILLS, TURNS Ex
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490 APPOGGIATURAS, TRILLS, TURNS Fr
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492 APPOGGIATURAS, TRILLS, TURNS st
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494 APPOGGIATURAS, TRILLS, TURNS
- Page 1020:
496 APPOGGIATURAS, TRILLS, TURNS Jo
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498 APPOGGIATURAS, TRILLS, TURNS fi
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500 APPOGGIATURAS, TRILLS, TURNS Ex
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502 APPOGGIATURAS, TRILLS, TURNS Ex
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504 APPOGGIATURAS, TRILLS, TURNS fa
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506 APPOGGIATURAS, TRILLS, TURNS Ex
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508 APPOGGIATURAS, TRILLS, TURNS Ex
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510 APPOGGIATURAS, TRILLS, TURNS Ex
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512 APPOGGIATURAS, TRILLS, TURNS Ex
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514 APPOGGIATURAS, TRILLS, TURNS Ex
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516 APPOGGIATURAS, TRILLS, TURNS wh
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518 VIBRATO also have been applied
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520 VIBRATO Ex. 14.2.Lussy, Musical
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522 VIBRATO vibrato in singing (for
- Page 1076:
524 VIBRATO Studies of wind instrum
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526 VIBRATO whether the adagio is p
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528 VIBRATO Such views, though perh
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530 VIBRATO gives the sound of the
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532 VIBRATO by this great fault. Th
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534 VIBRATO At about the same time
- Page 1100:
536 VIBRATO have sounded quite diff
- Page 1104:
538 VIBRATO most solo players. 1023
- Page 1108:
540 VIBRATO Ex. 14.9.Lasser, Vollst
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542 VIBRATO mentioned. For the flut
- Page 1116:
544 VIBRATO flute methods. It is di
- Page 1120:
546 VIBRATO Indications of a change
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548 VIBRATO Ex. 14.20.Löhlein, Anw
- Page 1128:
550 VIBRATO and in his later flute
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552 VIBRATO Ex. 14.27.Baillot, L'Ar
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554 VIBRATO would have been expecte
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556 VIBRATO Ex. 14.33.Weber, Der Fr
- Page 1144:
15 Portamento The term ‘portament
- Page 1148:
560 PORTAMENTO Whatever the words u
- Page 1152:
562 PORTAMENTO like the Bourgeois G
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564 PORTAMENTO And he went on to ad
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566 PORTAMENTO and close parallels
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568 PORTAMENTO Not only could the
- Page 1168:
570 PORTAMENTO Ex. 15.10.García, N
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572 PORTAMENTO Ex. 15.13.Bériot, M
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574 PORTAMENTO This ornament is eff
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576 PORTAMENTO Ex. 15.17.Dotzauer,
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578 PORTAMENTO Ex. 15.21.Spohr, Vio
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580 PORTAMENTO Ex. 15.25.Bériot, M
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582 PORTAMENTO Ex. 15.28.Meyerbeer,
- Page 1196:
584 PORTAMENTO Ex. 15.34.Berwald Vi
- Page 1200:
586 PORTAMENTO Ex. 15.37.cont. Towa
- Page 1204:
The Fermata 16 Paralipomena The fer
- Page 1208:
590 PARALIPOMENA 1. ‘Each embelli
- Page 1212:
592 PARALIPOMENA Ex. 16.4. D. Corri
- Page 1216:
594 PARALIPOMENA Ex. 16.7. Haydn, S
- Page 1220:
596 PARALIPOMENA Ex. 16.10. Weber,
- Page 1224:
598 PARALIPOMENA Ex. 16.12. HÄser,
- Page 1228:
600 PARALIPOMENA The recitatives of
- Page 1232:
602 PARALIPOMENA keyboard instrumen
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604 PARALIPOMENA Ex. 16.18. Meyerbe
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606 PARALIPOMENA he implied that or
- Page 1244:
608 PARALIPOMENA Ex. 16.20. Meyerbe
- Page 1248:
610 PARALIPOMENA Ex. 16.22. Clement
- Page 1252:
612 PARALIPOMENA Ex. 16.24. P. A. C
- Page 1256:
614 PARALIPOMENA written equal pair
- Page 1260:
616 PARALIPOMENA Ex. 16.30. Haydn,
- Page 1264:
618 PARALIPOMENA Ex. 16.34. Schuber
- Page 1268:
620 PARALIPOMENA Ex. 16.35.cont. fi
- Page 1272:
622 PARALIPOMENA Violinspielen posi
- Page 1276:
624 PARALIPOMENA Ex. 16.41. Mozart,
- Page 1280:
626 PARALIPOMENA Ex. 16.43. Schuber
- Page 1284:
628 PARALIPOMENA of its systematize
- Page 1288:
630 PARALIPOMENA [Takttheile] (beat
- Page 1292:
632 PARALIPOMENA musicians might se
- Page 1296:
634 BIBLIOGRAPHY AUER, LEOPOLD, Vio
- Page 1300:
636 BIBLIOGRAPHY CRUTCHFIELD, WILL,
- Page 1304:
638 BIBLIOGRAPHY HABENECK, FRANÇOI
- Page 1308:
640 BIBLIOGRAPHY MARTIN, DAVID, ‘
- Page 1312:
642 BIBLIOGRAPHY SASLOV ISIDOR, ‘
- Page 1316:
644 BIBLIOGRAPHY WEIPPERT, JOHN ERH
- Page 1320:
646 INDEX appogiando , seearpeggiat
- Page 1324:
648 INDEX cadenza 158, 420, 543, 54
- Page 1328:
650 INDEX fermata ; pause 588, 591;
- Page 1332:
652 INDEX Joachim, Joseph 258, 268,
- Page 1336:
654 INDEX mezza voce 61 mezzo forte
- Page 1340:
656 INDEX portato 129, 130, 131, 20
- Page 1344:
658 INDEX Schumann, Robert Alexande
- Page 1348:
660 INDEX terms of tempo and expres
- Page 1352:
662 INDEX Weber, Carl Maria von ; E