Piano teaching : its principles and problems . agentle pressure upon each first beat, as when the initial mo-mentum is given sr± ± to a wheel in putting it intorevolution, thus: y J g ||| The power of this accent may be increased tenfold, however, by still further elongating the beat for a note of special stress, as at the climax PIANO TEACHING 79 of a melody, thus suggesting the stress of the singer upon anote of great intensity. I instance the climax note of the firstphrase in the Chopin Nocturne, Op. 9, No. 2: Chopin #fe%f S I The second, or dynamic form of accent needs little explana-tion,
Piano teaching : its principles and problems . agentle pressure upon each first beat, as when the initial mo-mentum is given sr± ± to a wheel in putting it intorevolution, thus: y J g ||| The power of this accent may be increased tenfold, however, by still further elongating the beat for a note of special stress, as at the climax PIANO TEACHING 79 of a melody, thus suggesting the stress of the singer upon anote of great intensity. I instance the climax note of the firstphrase in the Chopin Nocturne, Op. 9, No. 2: Chopin #fe%f S I The second, or dynamic form of accent needs little explana-tion, since it is the form most easily recognised (A). Involving asit does an actual increase in sound in a note over The dynamic ac-that of the preceding note, it must be used with cent*much discretion, in order that the accented note may not begrotesquely out of proportion to its surroundings. It is, how-ever, the form of accent upon which we must rely to say thefinal decisive word at the apex of a climax, as in the ChopinFuneral March: Chopin. An accent which is really a modified form of the rubato maybe called the legato accent (^). This makes a legato note prom-inent by preceding or following it by staccato The legato ac-notes, thus apparently giving it greater dura- cent*tion. The preparatory rest before the entrance of a voice infugal writing produces an effect analogous to this, drawingattention to the entering note of the subject by the void thatwas before it. Here is a legato accent from Beethoven, Op. 31,No. 3: Beethoven m m^ ii _5V f m m t 80 PIANO TEACHING Likewise the staccato accent O, a modified form of the dy-namic, in which the note breaks off abruptly on a prominentbeat, is occasionally a powerful ally. Combinedimmediately with the legato accent, this fur-nishes a rhythm of overwhelming intensity, as in ScharwenkasPolish Dance: The staccato accent. Scharwenka
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