CHASE

Manuscript Annotations

Page No.	Note
3	Staccato dots maybe intended merely to ensure separate bows.	View
7	These dots on repeated notes must be intended to show a distinct separation.	View
7	Here, the dots may simply indicate separate bows, but could imply a lighter, more springy bow stroke.	View
8	Surprising use of the D string for this fortissimo ending.	View
8	Change of position to avoid trill with 4th finger.	View
8	Fingerings that imply expressive portamenti.	View
8	Here, unlike in bar 1, Lipinski expects a trill with the 4th finger.	View
8	Even though the notes are taken with separate bows, these successive 2nd fingers suggest a slide to the C natural, and perhaps from the C to the B as well.	View
11	Each time this motif appears, Lipinski changes the bowing.	View
11	Staccato wedge perhaps to indicate a swift, emphatic bow stroke.	View
11	New bowing.	View
12	Bowing different again.	View
12	The fourth different bowing for this figure.	View
12	A typical use by Lipinski of > accents within a legato context. Perhaps he intends some pressure on the bow, during a smooth legato stroke, to suggest a vocal "speaking" style of expression.	View
16	A surprisingly ungainly fingering.	View
18	A characteristic change of finger on a tied note. See also the example 2 bars later	View
19	An instance of Lipinski's readiness to make full use of 2nd position	View
21	Striking exploitation of G-string tone. Note the lengthened slurs, the crescendo, and the expressive portamenti.	View
24	The accents, suggesting notes beginning strongly then tailing away, give emphasis to the importatn rising motif.	View
24	Typical use of > accent to mark syncopation.	View
31	For this repeat of the opening music, Lipinski, changes the dynamic level, previously forte.	View