NOTATIO

No, I meant in 5/4, since we were discussing about 4+1.

Very interesting. So, would he write it as a half-rest + two quarters (or opposite)?

Yes, they would.
At least, they insisted on that when I tried to convince them to use a 3+2 or 2+3.

Several modern (living) composer consider 1+4 and 4+1 as plausible subdivisions of 5/4. When I was studying "advanced solfege" (!) in Switzerland, using the now almost defunct French method of the CNSMP, we were taught that 5/8, 7/8, 10/8, and 11/8 (and smaller /16, /32 ...) are irregular ...

If you use the Italian marking, make sure you include the grave accent on the last a: metà.

I think that you are right about a possible ghosting: the manuscript has a very big C while a few numbers later there is an also quite big cut C. Dotzauer was not new to writing a possibly cut-C music in ordinary C. This was his op. 65 (1824-26) when he was 41-3 years old. It is my assumption that h...

Thanks, Neera. Given the context, that staccato looks like an error to me, and I myself would play a slurred two-note group like the rest. The piece is nicely engraved, but I see a substantial error in m. 7 of your second example, so inaccuracy is not out of the question. You are correct, John. A c...

Let's try with this, it is on a page turn:

Hi John!
it's in the Books category because, in theory, it has no opus number.
The autograph should be the top one: https://imslp.org/wiki/Metodo_per_Violo ... Friedrich)

As a cellist who, at least in his times, got very little harmony training until it was too late to really matter—that was the way of the Italian education system—I got used to deduce harmonic function based on melodies. There are certainly many more possibilities compared to when harmonising a bass ...