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Scan 234
An Encyclopedia of the Violin, 1925
20 lines. Read by computer on 28 September 2026. Printed page 206. See the scan on archive.org.
1In this vigorously martial two-measure phrase, the accent is sforzando rather than a mere stress; yet, though it must be forcefully played, this by no means implies that it should be attacked in a brutal manner.
3In Beethoven's "Romance" in F Major, the phrase which follows must be accented, to avoid the risk of being monotonous, since monotony is the relentless enemy of all beauty in music. The passage in question should be accented as here shown:
5Further on, in the same "Romance," we find a phrase whose correct accentuation has been the subject of considerable discussion.
7This phrase is contained in a musical sentence of great dramatic intensity, and when the accentuation indicated is used—it is, incidentally, the one preferred by Joachim—a truly grandiose effect is secured.
9Louis Spohr's Eighth Concerto, the so-called "Vocal Scena," offers a number of examples which may be used for similar applications of accent.
11These two accents may be said to express a grief poorly disguised and illustrate the saying that "there is no rose without its thorn." Returning to Beethoven's admirable "Romance" in F Major, it is emphatically a composition devoid of all life and expression when played without accentuation. In the passage which follows, it is important that the notes which control the direct upward movement of the theme be well marked:
13Marks of accentuation are written in various ways. I would suggest that the following signs be used:
15Strong Accent <
16Medium Strong Accent >
17Weak Accent ▷
19In this way much confusion would be avoided, and the execution of the player would gain greatly in clearness.
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