The Short

230 NOTATION OF ARTICULATION AND PHRASING
Ex. 6.29. Beethoven, Fifth Symphony op. 67/iv
Ex. 6.30. Galuppi, La diavolessa, Act I, Scene ii, österreichische Nationalbibliothek, Vienna, MS 18070; pub. in fac. in
the series Italian Opera 1640–1770 (New York and London, Garland 1978)
Apart from these primary meanings, a similar symbol could be used to designate something quite different. In Haydn's
string music, for instance, it sometimes identified a passage that should be played on the same string (Ex. 6.31.) It was
also employed to define a triplet or other irregular grouping, often without any implications of slurring. And Berlioz,
for instance, used a slur-like sign in horn parts to show the application of hand stopping without change of
embouchure. 394 In French and French-influenced eighteenth-century music a long slur might indicate that the normal
inequality did not apply to the notes that were encompassed by it. 395
Ex. 6.31. Haydn, String Quartet op. 64/4/ii
394
Macdonald, ‘Two Peculiarities’, 25.
395
Fuller, ‘Notes inégales’, 422.