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Ex.
Long Appoggiaturn.
I.
~~ . , J. 1 ff J
Short Appoggiatura.
- ~
I'Iayeu.
ORNAMENTAO
jT3!~="i$~X ~I
THE
LONG
APPOGGIATURA.
2.~The Long Appoggiatura is not often found in music cornposed sin ce the end of the eighteenth century. * It is indicated by a
note printed in small type (not counted in the time value of the bar)
placed before a Melody note (Principal note), from which (if divisible into
two parts) it takes half its value ; tnc accent is upon tlze Appoggiatura.
Ex.
2.
(MOZART,
Ex. 3
~~t-=Flli~~:w~~~
(! ft-J=;-9
tt~
MU SI CAL
Ex. 4.
RNAMENTS.
'
(J. S. Q.BACH,
Prelude
j'--- XVIII, Book 11.)
=1JJ_j
!, ~ '-~~~r ~
~- }:B=I::tE==:l-:==~I
-..~ ---l:'"l- ~
1H-~~C...~-+:.-~.~ =--______
-ti:::=c..
-i
i'_-.= --~~~F=.
'. ~--
-~~==5==-_
~~=~-
-- ! 1 1
1
-j~~~~---m~
Played.
=
- .,.,
qL
* Modern composers write the Long Appoggiatura with ordinary sized notes
embodied in the time of the bar.
'
3.-When
Ex. 6.
(J. S.
BACH,
note,
~~~~=id~I
Plavc d.
,-.,
(J. S.
t~IP%
BACl-I,
.t-t-11
p~
\-=:_~~~===11
Played.
--\----
THE
7.-I~
SHORT
APPOGGIATURA.
J.
S. Bach's Suites,)
'
.
:
:
_"'""~_,,_
j=t=r-;-= .
Ex.
13.
12.
;,,.= ~
Played.
:J=@:;:~ll
s
MUSICAL
RNA:\.fENTS.
it may be helpful to
Short Appoggiatura is
generally incorporated
ordinary size.
THE ACCIACCATURA.
(Italian, Acciacare, to crush.)
9.- Thc Acciaccatura
is playedRNAMENTS.
rapidly on the beat of
MUSICAL
Principal note, whiclz retains its accent.
~~
! :. .
J:
Ex. 16
15.
Ex.
Ex. 17.
Papillons
the
-=~--
No. X 1.)
Op.
: '
'i )" )" )" (SCHCl\lANN,
)"
A"
!
r-~
*
t~---f~~==r-~~~
~
~-.:~~:~f!~-~:;Jf-~--==tI
-.--- -t1Fz---~__
.,
---------~-2
=i
-"-=- -=---- ----L.......
- --f~-==t=:-_-=:==c=---+===
(SCICUl'llANN,
22.)
i----is:_--~ ----. ~I
~
'W=
:~... __
E~:;=m~-==g=~~
$E11
-;-1,<)--m,---~~_!-~-_:--_!_:-=:!-~-~~~~==4
--- - - ____ 4
--H
J
....._____.,
i
-.+!'
-_
Played.
~3{
_ _.t__l-------p--=-'.:::
/\
r.--f--- ---::- --'='t-/\ - ---
/\
--
;~~
...i~
!:::=~ 1 r;
/\
J..,.
~~
:
---..-.--- - ,, .... _ ... ;
ti~'
Played.
_._.,~ --
,~.
---
;;::::
;;:::
----\
;::::
._!_
--
-~--~,---~==
---- -
/\
,.._
... ' ....
;;::::
-f'Cc:il
--~-1- -~..
'-..../1
------------------------------
~_
-
J I.
Played as a Long
Appoggiatura.
__
-;-1,<)--m,---~- -~-~~~--H
-- 4 ---____
-f'Cc:il
--1- ~'-..../1
--~-
....._____.,
..
r~-~ -- ~.~-~-==-=.==11
Ex. 19.
Ex. 25.
(CHOPIN,
20.
THE
DOUBLE
APPOGGIATURA.
Ex. 27.
(J. S.
' ~---:rt~.
~~--~*a----..-,,
------=i::--=
_4_c::::: __
-----------
Ex. 23
J--
Piayetl.
,..-----..._
=~
~s---1_1
-;-1'-~a--~~hi!!,.-.._
-----
fi :::A---~=r===t===c==
THE
UPPER
MORDENT.
Ex. 29.
12
MUSICAL
Jcwf1_ ~
RNAMENTS.
Played.
Played.
/\
"
note, Mordent
upon which
the Upper
is placed
17. 16.-When
-When thetheU pper
is placed
beforeMordent
a chord,
it only
is
preceded
by
an
Appoggiatura,
the
Mordent
is
delayed.
The
affects the particular note before which it is placed.
Appoggiatura is sometimes indicated by a slur, also by the old
Ex. 34
Short Appoggiatura
sign ~.
1--,,
./ --------
f3F"~~
Ex. 31.
:~~
-
~1:-===5;;f3==
!JZ==fCIC~~~~1
1
r q,__: .-n13
$0
Ex. 32
Played.
MUSICAL
RNAMENTS.
----4--+-' ,J) ----
18.-The
Upper Mordent is sometimos l'layed.
indicated by the actual
Played.
notes printed in smallTHE
type, LOWER
(See AfterMORDENT.
l'-lotes, Ex. 140, paragraph 7 3.)
1
---
jTTJ?t ==
. fr" .. 1
~~=:~~:~j~I
=.i r----.,
_ttrtj':.c~~Ill
Played.
~~-- =~:~~==----==~
-~u
Op. 40.)
Y-~:L
_/-
.-----..
- .,-~----11._ifl
-~,
. --:-
r-__
A goocl effect is oten produced by beginning the upper Morclent with a Short
,\p:oggiatura when the Principal note is preceded by one of thc same pitch. (See
:-1hakes, paragrnph 55.)
(German, Doppelschlag.)
27.-The Turn '" MUSICAL
divides theRNAMENTS.
note ovcr which it is placed (the
15
Principal note) into four notes, viz., (m modern music*) the note of
the scale above, the Principal note, the semitone below (see exceptions)
and the Principal note again
; in TURN.
qui'ck time these notes should be
THE
equal, in modera/e and slow time the last note should be longer than
the others.
(German, Doppelschlag.)
27.-The Turn '" divides the note ovcr which it is placed (the
Principal note) into four notes, viz., (m modern music*) the note of
the scale above, the Principal note, the semitone below (see exceptions)
and the Principal note again ; in qui'ck time these notes should be
equal, in modera/e and slow time the last note should be longer than
either of the notes of the Turn is to be accidentally
the 28.-\Vhen
others.
raised or lowered, the necessary signs are invariably placed over, or
under the Turn si gn.
Ex. 49
MUSICAL
RNAMENTS.
Ex. 58.
A. 59.
\Vhen the Turn is placed upon each note of a scale
passage.
Ex.
Sonata
No.though
1.)
29.-Sornetimes these necessary signs (HAYDN.:..,
are omitted,
Ex. 51. intended; f the
obviously
folloioing rules are gen to lzelp tite T.L
student,
~_;_;'_-----u~:f.-:!!.wlzen suc/: is tlze case.
~=t!"i
Ji=~~
e]~~
tE=n
J~~;;~~~~=~:t~]~~j
note of a Turn is generalty a senutone below the
1
11
~
~~A. ------.
-dis': placed, !
the ~-G1i
Turn
-\Vhen
:.: :.:. ::3-=~,
5
Ex. 51.
Ji=~~ e]~~
----
ll
= -~~~:~~=~Jr--u-==11
r:==:~r----;;i~==~=-=1~.-~ 19r~~~~-
30.-The under
Played.
~
....-----..
Playe
d.
Principal
note, especially
is this
the case,
'l./
';1' ---
~--
-!!'
_,
~_
--~~-~-
~1=
upon 11each
note of a scale_ passage.
,
~~-#lf~t=:'-;t~---~' .
J~~;;~~~~=~:t~]~~j
placed
long note,
Principal notes
noteof
* In33.-When
J. S. Bach's the
worTurn
ks the is
Turn
shouldafter
be aplayed
wit h the
t h e diatonic
lasts
for
nearly
its
full
value,
leaving
just
enough
time
for
the
Turn
at
.he scale, un l css otherwise clirected.
the end.
Playe d.
- :.: :.:::3-=~,~~~@=U
r:==:~~==~=-=1~.
19r~~~~--~~~:~~=~J
~~-#lf~t=:'-;t~---~' . -==11
Ex.
60.
ll
';1' ---
J*-t:3-~.
~--
-~------
(BEETHOVEN,
-!!'
Op.
2,
No. 2,)
be played
wit h t h e diatonic
notes of
34.-When the Turn is placed over, or after a dotted note,
followed by a note of the value of a dot, completing the beat, or division
of the beat, but not of the same ,iJltch, the last note of the Turn should
ti
_144$2=~
==i==--=
e, Op.~.
51, =1
No.
: :.~-!.}_-==.-. Rondo
...- in:::
:~.--1. 1.)
: '=---"'-~-P4-~
~
v
--~-~. ~ 11
1f __ ~0 =1=--l]
--~
. F--f-t===T
. --Op..-355, No. 33.) 1:1
F.x. 67.
Ex. 68.
(BEETHOVEN,
Played.
--
~~
---E-'-_._-IE-.,_m!!:
-.J
__--4
-~-
-------
(CZERN\',
This rule also holds good when (under the same conditions) the two
notes are tied.
Ex. 69.
~=
!!~-------!'
Sonata,
Op. 31, No. z.)
(BEETHOVEN,
-::i==U
---________
--- __::---::r___.,,
--
:::j - -~
-i
When, however, the second of tite two tied notes is dotted, the Turn may
be played as explained in paragraph 34.
Ex. 70.
JPbit
(BEETHOVEN,
Sonata,
"==is~
etc.
39.-When the Turn is written out in ful! (in small tye) it i:-:
generally played in the same manner as when indicated by the usual
sign ,.....,,
Ex. 7r.
(CLRMRNTI,
-~~-.z:----
---1'.----~--~~-'!r--~
-~--~=::1:
:1
----
Played.
_..- ~=---=-=1---~=
:-l-t-----*--~~-<
~~------.-~--
-~-11
-----~- - =-
~
-~---j--.;- {;
=~~-
~==t==
.. =u
=~--1-,,-~
- ~.
I
~--
-=:p:_!
THE
P!ayed.SHAKE.
Ex. 81.
(Italian, -==11j'l-e"c:S:-_1i~
Trillo; German, Triller; French, Trille.)~::i:=il
~r=f2-=g~~=4
_t::=:=f::_= . ~==--Wr---='p ~I
~I"~
-~.
1!9~f~~
=__ ~J=;a;~~._~-~!$=r;;!?'~1_'i~JJ~Ju;:=;::_~~-0
~r=f2-=g~--==11j'l-e"c:S:-_1i~
~::i:=il
Ex. 82.
Played.
tr
Ex. 81.
P!ayed.
:;=1
~=4
_t::=:=f::_= .
~I"~
~==--Wr---='-
-~.
~I
TURN
OF THE
SHAKE.
49.-When THE
the Shake
is placed
upon the
sixth of the harmonic
minor50.-The
scale, theShake
upper generally
note mustends
be with
the flattened
because the
a Turn, seventh,
wbether indicated
or
note
the scaleis (the
not, of
especially
this seventh)
the case-is an augmented second from the sixth.
1!9~f~~=__ ~J=;a;~~._~-~!$=r;;!?'~1_'i~JJ~Ju;:=;::_~~-0
an accented note (the last note of the
Ex. A.
82. When
tr it is followed by Played.
Turn of the Shake rnust be the Principal note; to accomplisb tbis it is
often necessary to introduce a triplet near the end),
:;=1
Ex. 83.
Played.
tr
--------
~ffi-=~l~~=c-=;t~
~~:#J=_t~==r=~~H
~====
THE TURN OF THE SHAKE.
v
'-/'
B. When Shake
(in modern
music)
is followed
another indicated
note of theor
50.-The
generally
endsit with
a Turn,by wbether
same
name,
whether
tied
to
it
or
not,
and
the
Turn
sbould
end upon
not, especially is this the casethe second note. (In old music, see paragraph 51 C.)
14-r-+-W?---r=ll ~~fe~
-------~ffi-=~l~~=c-=;t~~~:#J=_t~==r=~~H 23
~====
Ex. 83.
or
Played.
tr
v
MUSICAL
RNAMENTS.'-/'
There
is one excepi
ion (see paragraph
B. When
(in modern
music) it 49).
is followed by another note of ' the
t
A
waved
line
is
sometimes
placed
after
the
shake
sgn IrTurn
~{see sbould end
Ex.orMAJr-.
9-:>).
C.
When
(as
in
old
music)
it
is
by~,IW',),NW,
same name, whether tied to it or not, indicated
and the
upon
""'
fEr-D
P=~~~e-jl
14-r-+-W?---r=ll ~~fe~
Ex.~~~
Ex. 84.
tr
tr
Played.
or
on the
upper
note.
(See
~=-r-e ~---~-E-~-- R
~~=e:---~=Et=--c-1]
MUSICAL
RNAMENTS.
-----------r(l . __
Ex. 90.
tr -------:::~:::::::~::::::::::::::::::::::::::::::~::::::::::::::~~
:;-h---
=Fe ------------------
-----:----===--====------------------'!::OPlayed.
-,c.__
l=tc'---~c
,.-.,.
1"fh1'4~~
~~~~1
This rule <loes not hold good when the second of the tied notes is a
dotted one, followed by two small notes indicating the Turn.
Ex. 91.
Played.
._'
.,.---L::1.
~:-,--l~
-i=~-r=i.
'--=-1~ ~-~
,,_lL-p:.,,_._,,_lll.,_1:--.--
_L_
gu
-
"-"
D. When expressed by
notes after the Shake.
MN
Ex. 92.
Played.
Ex. 93
JF~~D
["tr~~gj
Played. ~
E. When followed by a rest ; (in old music the Shake need not
occupy the whole value of the Principal note, when followe<l by a rest.)
l~~R -+-r
Ex. 941r
_"1
Played. ~
H ~ r I' r ;o/fEH
Ex. 951r
In old music.
Played.
~=U
Ex. 96._,..(HAYDN,
Sonata No. 5.)
-i-!'--
E r r r r r E E llP!ayed.~
tr
tr
~-_r'-.!
#tggtEtgtWJI