:

ACCENT ACCENT 15

backward or forward a syllable, as for instance

in the line
Stop ! for thy tread is on an Empire's dust,
where the first syllable instead of the second
receives the stress, so ia music, though with
much more frequency, we findtheemphasis trans-
ferred from the first tosome other beat in the
bar. Whenever done it is always clearly
this is
indicated. This may be done in various ways.
Sometimes two notes are united by a slur,
showing that the former of the two bears the
emphasis, in addition to which a, sf is not in-
frequently added e.g. ;

6. Haydn, Quartet, Op. 54, No. 2

(Ist movement).

7. Beethoven, Sonata, Op. 27, No. 1

(Finale).

In the former of these examples the phrasing

marked for the second and third bars shows
that the emphasis in these is to fall on the
second and fourth crotchets instead of on the
first and third. In Ex. 7 the alteration is
even more strongly marked by the sf on what
would naturally be the unaccented quavers.
Another very frequent method of changing
the position of the stress is by means of Synco-
pation. This was a favourite device with
Beethoven, and the two following examples
will illustrate the point

Symphony in Bl> (1st movement).

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