This chapter examines a number of issues that did not fit in to earlier chapters. These comprise the following: notation and execution of the fermata; the notation and performance (including accompaniment) of recitative; un-notated arpeggiation in keyboard playing; the variable dot and other related aspects of rhythmic flexibility (such as the assimilation of dotted rhythms to triplets or the conventions of over-dotting); and the notions of ‘heavy’ and ‘light’ performance as expounded by Kirnberger, Schulz, Türk and others in the 18th century. A postscript sums up the aims of the book and emphasizes the value of understanding the hidden implications of late 18th- and 19th-century notation.
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