will fall exactly with its corresponding note in the accompaniment, except, perhaps, the first note in the bar." Robert Philip's further research shows that these three components (accelerando and rallentando, tenuto and agogic accents, and melodic rubato) were most often used together, as each performer could combine all of them and give the melody flexibility in their own specific way. Chopin Frederic Chopin (1810–1849) wrote the term rubato in fourteen different works. All of the spots marked rubato in his fourteen compositions have a flowing melody in the right hand and several accompanying notes in the left hand. Thus, Chopin's rubato can be approached with delaying or anticipating those melody notes. According to descriptions of Chopin's playing, he played with the melody slightly delaying or excitedly anticipating the beat while the left-hand accompaniment went on playing in time. Usually, his usage of the term rubato in a score suggested a brief effect. However, when the term sempre rubato was marked, it indicated a rubato that continued for about two measures. Interestingly, Chopin never marked a tempo following rubato. This leaves the length of the “momentary effect” up to the interpretation of the performer. Therefore, the performer must understand the purpose of why rubato is indicated from the composer. There are three purposes why Chopin marks the word rubato in his compositions: to articulate a repetition, to emphasize an expressive high point or appoggiatura and to set a particular mood at the beginning of a piece. The first main purpose for which Chopin marks rubato is to articulate the repetition of a unit of music. For example, the rubato marked in bar 9 in Mazurka Op. 6 No. 1 points out the beginning of the repetition after the first eight-measure unit. Another example of this usage of rubato occurs in the Mazurka Op. 7 No. 3. In this piece, the theme begins at measure 9 and repeats at measure 17, which is where the rubato is marked. From this, the performer is given the cue to approach the repeated material differently the second time it occurs. Chopin's second main purpose for using rubato is to create an intensely expressive moment such as at the high point of a melodic line or at an appoggiatura. For example, in the Nocturne Op. 9 No. 2, bar 26 has an intensely singing moment where the melody leaps up to an E-flat. However, this E-flat