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The rhythm of the retrograde, or "reading from right to left what normally ought to be read from left to right," is two eighth notes (the rhythmic equivalent to a quarter note) followed by a sixteenth.
HN 347 presents the last eighth note of the upper staff as C, with the footnote "Sources lend to denote Bb rather than c; however, cf.
The second half of the movement mirrors the first half, since the rapid decending seventh-chord arpeggios gradually move the piece back into the low register of the instrument using a number of special techniques, Just when the listener expects the piece to continue its perpetual motion, the composer introduces a short section with widely disjointed eighth notes played with slap tongue and portamento.
Rhythms 2/1/ii/26 [*] flag missing from bass chord on first beat 2/2/i/117 two measures' rest; possibly not an error 2/3/ii/8 [*] g# is a sixteenth note; should be an eighth note 2/3/ii/52 [*] incorrect sixteenth notes in right hand; should be thirty-second notes
Let's look at a string of eighth notes in 4/4 time:
55, which lacks a flag in the original, creating an unreasonably long quarter-note up-beat; the expected eighth note occurs in the two concordant readings.
Here the first-edition parts indicate portato on all three notes for the violins and violas, while cellos and bassoons have a note without staccato mark on the first beat and portato on the last two; the decision to leave the first violins portato throughout but to articulate the first eighth note of the second violins and violas with a staccato stroke followed by two portato notes, and to place an editorial staccato stroke on the first beat of the cellos while not similarly marking the unison bassoons, seems musically unconvincing and is hardly justified by comparison with the not quite parallel passage at m.
Sustaining the volume of air throughout these passages will present a great challenge, and the indicated tempo of the eighth note at m.
Small motifs that begin on an unaccented eighth note together with Alberti bass require careful pulsing and balance.
The accompaniment tends to be written mostly with a steady beat provided to help the student learn more complex rhythms, like syncopated eighth notes in 9/8 time, for example.
Laura also explained to her local newspaper in the United States, the Greenfield Recorder, that the composition for seven pianos, voice and percussion is full of subtleties which evoke particular strands of the disaster - including one sequence of 144 eighth notes, representing each victim.