There are sections where Quantz has not defined each note individually, but has provided a group of notes with one dynamic indication.
...numbers and individual letters in his text as reference points, which can also be found in the score...
There are also some notes that receive two different instructions from Quantz: in this case the note C (strong and diminishing, i.e. forte and diminuendo)
There are further special features: at i) 19) and e) 11), Quantz writes ‘very weak’, which I have translated as pianissimo.
Quantz uses two different words in his text: ‘schmeichelnd’ (flattering) and ‘gezogen’ (drawn). Gezogen refers to the articulation like in a legato bow stroke, and schmeichelnd describes the affect of this passage.
...where Quantz writes ‘strongly and hard pushed’: here I have placed a staccato dot over the note.
In this case, this is particularly remarkable because this ornament resembles a tierce coulée, which is normally played weakly and unaccented, but According to Quantz, the second quaver should be played forte and emphasised.
Quantz Adagio
Frank
Created on June 19, 2024
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Transcript
There are sections where Quantz has not defined each note individually, but has provided a group of notes with one dynamic indication.
...numbers and individual letters in his text as reference points, which can also be found in the score...
There are also some notes that receive two different instructions from Quantz: in this case the note C (strong and diminishing, i.e. forte and diminuendo)
There are further special features: at i) 19) and e) 11), Quantz writes ‘very weak’, which I have translated as pianissimo.
Quantz uses two different words in his text: ‘schmeichelnd’ (flattering) and ‘gezogen’ (drawn). Gezogen refers to the articulation like in a legato bow stroke, and schmeichelnd describes the affect of this passage.
...where Quantz writes ‘strongly and hard pushed’: here I have placed a staccato dot over the note.
In this case, this is particularly remarkable because this ornament resembles a tierce coulée, which is normally played weakly and unaccented, but According to Quantz, the second quaver should be played forte and emphasised.