I offered this as a supplement to "playing it the way you feel it," but n the end you have to basically do just that. So if that's the way you feel it, certainly go with your instincts.Arthur Becker wrote:It is worth considering continuing crescendo through to the F#. Decreasing the volume to me says the thought is done and we shall move on. But the thought is not done. It is thought over again in the next few measures then added to with the final melodic descent. I feel a strong rest on F# helps tie the entire phrase together and keep me as a listener leaning forward to see what happens next. I also prefer to start light and increase through to the B in measures 5-6, backing off significantly on the G#. These are just my personal preferences.Ramon Amira wrote: The F# on the first beat of Measure Two marks the end of the melody line. But this is a sharp descent from the B, lower even that the very first treble note of Measure One. Consequently, if it is played at or near the volume of the B, it threatens to dissipate the effect of the peak at B. Conversely, a drop in volume at the F# will enhance the peak at the B.
Personally, if you embrace my idea of a crescendo in that opening, then I cannot conceive of continuing the crescendo through the F#. It's pulling the note is exact opposite directions.
Certainly the phrase does not end on the B, but falling back on the F# does not delete the F#. It is still an integral part of the phrase, but clearly is not the peak of the phrase. The peak is at the B, and to continue the crescendo does double damage to the phrase: it lends undue emphasis to the F#, and at the same time diminishes the effect of the peak at B.
It's the same with measures five and six. To "start light and increase through to the B in measures 5-6, backing off significantly on the G#" simply runs counter to the nature of the phrase. I cannot imagine doing a crescendo on a descending phrase, which really calls for a diminuendo.