Some of the most poignant moments in music, as say the descending bridge section in the slow movement of the Hammerklavier sonata, occur when the leading notes seem to gently protest against the direction of the music, of the current in which they are embedded. If on one side the unfolding of a performance in time is always implicitly saying 'yes. yes, yes', on these occasions it is also saying 'no, no, net yet, please stop or slow down'. This is a rare event and cannot be artificially added on to a piece through style. If it is a kind of erotics, it must be stressed that it only works in a single voice. Perhaps it if found most often in certain songs, but never against the accompaniment, which at such times merely holds the singer's hand. And where there are two or more instruments the erotics of consonance and melisma would easily overwhelm any such subtle effect. The delicate protest at falling while falling is a hidden sublimity of time.