Slurs and accents have nothing to do with each other. Slurs indicate either a legato touch or the grouping of the notes. Which one of the notes thus grouped is to be accented depends upon its rhythmical position in the measure. The strong and weak beat (or positive and negative beat) govern the accent always, unless there is an annotation to the contrary, and such an annotation must be carried out with great judiciousness, seldom literally.
How Long an Accidental Affects a Note
Where there is an accidental on the last beat of a measure does not that note resume its signature beyond the bar unless tied? The case I speak of was in a key of two flats, common time. The fourth beat, E, was naturalized and the first note of the next measure was E with the flat sign. I maintain that the flat sign is superfluous, and I should like to know if this is right?
You are quite right, theoretically. Nevertheless, the proper tonality signature of a note that was changed is very frequently restated when the same note recurs beyond the bar. Though this special marking is not necessary theoretically, practical experience has shown that it is not an unwise precaution.
"E-Sharp and B-Sharp" and the Double Flat
What is the meaning of the sharps on the E and B line, and of a double-flat? Are they merely theoretical?
They are not theoretical, but orthographical. You confound the note C with the key on the keyboard by that name. B-sharp is played upon the key called C, but its musical bearing is very remote from the note C. The same applies to double-flats (and double-sharps), for D with a double-flat is played upon the key called C, but it has no relation to the note C. This corresponds precisely with the homonym in language: "sow"—"sew"—"so"—sound alike, but are spelled in various ways according to the meaning they are to convey.
The Effect of Double Flats
How is an octave, written thus, to be played?
