(C) 2004, 2004 Center for Computer Assisted Research in the Humanities. ID: {viv/roger/op1/rv075/stage2/03/02} TIMESTAMP: DEC/10/2005 [md5sum:822897701a49dc315526d1ffa93f5103] 10/26/04 Fran Bennion WK#:01,09 MV#:3 RV 75 / Estienne Roger (No. 363), Amsterdam [facs.] Vivaldi Op.1, No 9 in A Major Movement 3 - Allemanda Violino 2 Group memberships: score score: part 2 of 4 Pv4.02 $ Q:4 K:3 T:1/1 C:4 D:Allegro rest 8 1 h E5 2 1 e u [ E4 2 1 e u = F#4 3 1 e. u = G#4 1 1 s u ]\ measure 2 A4 2 1 e d [ C#5 2 1 e d = E5 3 1 e. d = F#5 1 1 s d ]\ B4 4 1 q d rest 2 1 e G#4 2 1 e u measure 3 A4 4 1 q u B4 4 1 q d E4 4 1 q u rest 2 1 e C#5 2 1 e d measure 4 D5 4 1 q d E5 4 1 q d A4 4 1 q u F#5 4 1 q d measure 5 B4 4 1 q d E5 4- 1 q d - E5 2 1 e d [ D5 1 1 s d =[ C#5 1 1 s d ]] D5 2 1 e d [ D5 2 1 e d ] measure 6 D5 4 1 q d ( C#5 2 1 e d [ ) E5 2 1 e d ] F#5 2 1 e d [ B4 2 1 e d ] B4 4 &11 q d &1 t measure 7 A4 4 1 q u C#5 3 1 e. d [ D5 1 1 s d ]\ E5 2 1 e u [ E4 2 1 e u = D5 2 1 e u = D5 2 1 e u ] measure 8 D5 2 1 e d [ ( C#5 2 1 e d = ) E5 3 1 e. d = F#5 1 1 s d ]\ B4 4 1 q d rest 2 1 e G#5 2 1 e d measure 9 G#5 2 1 e d [ F#5 2 1 e d = F#5 2 1 e d = F#5 2 1 e d ] F#5 2 1 e d [ ( E5 2 1 e d ] ) rest 2 1 e E5 2 1 e d measure 10 E5 2 1 e d [ D#5 2 1 e # d = D#5 2 1 e d = D#5 2 1 e d ] D#5 2 1 e d [ ( C#5 2 1 e d ] ) rest 2 1 e C#5 2 1 e d measure 11 C#5 2 1 e d [ ( B4 2 1 e d ] ) rest 2 1 e B4 2 1 e d C#5 4 1 q d F#4 2 1 e u [ B4 2 1 e u ] measure 12 G#4 4 1 q u rest 4 1 q rest 2 1 e G#5 1 1 s d [[ A5 1 1 s d ]] B5 2 1 e d [ B4 2 1 e d ] measure 13 C#5 6 1 q. d C#5 2 1 e d F#4 4 1 q u rest 2 1 e B4 2 1 e d measure 14 C#5 4 1 q d F#4 2 1 e u [ B4 2 1 e u ] G#4 8 1 h u mheavy4 15 :|: P C1:] rest 8 1 h E5 3 1 e. d [ D5 1 1 s d =\ C#5 2 1 e d = E5 2 1 e d ] measure 16 A4 4 1 q u rest 4 1 q F#5 3 1 e. d [ E5 1 1 s d =\ D#5 2 1 e # d = F#5 2 1 e d ] measure 17 B4 4 1 q d rest 4 1 q G#5 3 1 e. d [ F#5 1 1 s d =\ E#5 2 1 e # d = G#5 2 1 e d ] measure 18 C#5 4 1 q d rest 2 1 e C#5 2 1 e d D5 2 1 e d [ C#5 2 1 e d = B4 2 1 e d = A4 2 1 e d ] measure 19 G#4 4 1 q u A4 4 1 q u B4 8 1 h d measure 20 E4 4 1 q u rest 2 1 e C#5 2 1 e d D#5 4 1 q # d B#4 4 1 q # d measure 21 G#4 2 1 e d [ G#5 2 1 e d ] A5 8 1 h d G#5 4- 1 q d - measure 22 G#5 4 1 q d F#5 8 1 h d E5 4 1 q d measure 23 D#5 8 1 h # d C#5 4 1 q d rest 4 1 q measure 24 C#5 8 1 h d F#4 8 1 h u measure 25 B4 8 1 h d E4 4 1 q u C#5 4 1 q d measure 26 D5 2 1 e d [ D5 2 1 e d = D5 2 1 e d = D5 2 1 e d ] G#4 6 1 q. u G#5 2 1 e d measure 27 C#5 2 1 e u [ P C26:y-7 A4 2 1 e u = B4 3 1 e. u = A4 1 1 s u ]\ G#4 6 1 q. u C#5 2 1 e d measure 28 A4 2 1 e u [ F#4 2 1 e u ] F#5 4- 1 q d - F#5 2 1 e d [ P C26:y-7 E5 2 1 e d = F#4 2 1 e d = E5 2 1 e d ] measure 29 D5 2 1 e u [ B3 2 1 e u ] rest 2 1 e D#5 2 1 e d E5 4 1 q d F#5 4 1 q d measure 30 B4 4 1 q d E5 4- 1 q d - E5 2 1 e u [ D5 2 1 e u = E4 2 1 e u = D5 2 1 e u ] measure 31 C#5 2 1 e u [ A3 2 1 e u ] rest 2 1 e C#5 2 1 e d D5 4 1 q d E5 4 1 q d measure 32 A4 4 1 q u F#5 4 1 q d B4 4 1 q d rest 2 1 e E5 2 1 e d measure 33 E5 2 1 e d [ D5 2 1 e d = D5 2 1 e d = D5 2 1 e d ] D5 4 &11 q d &1 ( C#5 2 &11 e d [ &1 ) E5 2 1 e d ] &1 Slur from above C#5 to E5 in Roger moved back & EDITORIAL slur entered from D5 & C#5, similar to placement in m.35. See CRITICAL Notes by Eleanor Selfridge Field. The musical material from the pickup of this measure to the pickup of m.35 is then echoed until just before the end. The slurs in this meas. & m.35 differ however. Variety in closing meas. possibly intended? &1 measure 34 F#5 4 1 q d B4 2 1 e d [ E5 2 1 e d ] C#5 4 1 q d rest 2 1 e * G p P C17:Y59 E5 2 1 e d measure 35 E5 2 1 e d [ D5 2 1 e d = D5 2 1 e d = D5 2 1 e d ] D5 4 1 q d ( C#5 2 1 e d [ ) E5 2 1 e d ] measure 36 F#5 4 1 q d B4 2 1 e d [ E5 2 1 e d ] C#5 8 1 h d F &1 P C33:Y-6 &1 No fermata on last note in Roger for the violins. Entered fermatas like in Vc. & Bc. &1 mheavy2 :| /END