2017521 Ornament(music)Wikipedia

Ornament(music)
FromWikipedia,thefreeencyclopedia

Inmusic,ornamentsorembellishmentsare
musicalflourishesthatarenotnecessarytocarry
theoveralllineofthemelody(orharmony),but
serveinsteadtodecorateor"ornament"thatline.
Manyornamentsareperformedas"fastnotes"
aroundacentralnote.Theamountof
ornamentationinapieceofmusiccanvary AnextremeexampleofornamentationasafioriturafromChopin's
fromquiteextensive(itwasoftensointhe NocturneinDmajor
Baroqueperiod)torelativelylittleorevennone.
ThewordagrmentisusedspecificallytoindicatetheFrenchBaroquestyleofornamentation.

Inthebaroqueperiod,itwascommonforperformerstoimproviseornamentationonagivenmelodicline.Asinger
performingadacapoaria,forinstance,wouldsingthemelodyrelativelyunornamentedthefirsttime,butdecorateit
withadditionalflourishesthesecondtime.

Ornamentationmayalsobeindicatedbythecomposer.Anumberofstandardornaments(describedbelow)are
indicatedwithstandardsymbolsinmusicnotation,whileotherornamentationsmaybeappendedtothescorein
smallnotes,orsimplywrittenoutnormally.Frequently,acomposerwillhavehisorherownvocabularyof
ornaments,whichwillbeexplainedinapreface,muchlikeacode.Agracenoteisanotewritteninsmallertype,
withorwithoutaslashthroughit,toindicatethatitsnotevaluedoesnotcountaspartofthetotaltimevalueofthe
bar.Alternatively,thetermmayrefermoregenerallytoanyofthesmallnotesusedtomarksomeotherornament
(seeAppoggiatura,below),orinassociationwithsomeotherornament'sindication(seeTrill,below),regardlessof
thetimingusedintheexecution.

InSpain,melodiesornamenteduponrepetition("divisions")werecalled"diferencias",andcanbetracedbackto
1538,whenLuisdeNarvezpublishedthefirstcollectionofsuchmusicforthevihuela.[1]

Contents
1 Westernclassicalmusic
1.1 Trill
1.2 Mordent
1.3 Turn
1.4 Appoggiatura
1.5 Acciaccatura
1.6 Glissando
1.7 Schleifer
2 InBaroquemusic
3 RenaissanceandearlyBaroque
4 Indianclassicalmusic
5 Innonclassicalmusic
5.1 Rockandpop
5.2 Jazz
5.3 Celticmusic
6 Seealso
7 References
8 Furtherreading
9 Externallinks

Westernclassicalmusic

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Trill

Atrill,alsoknownasa"shake",isarapidalternationbetweenanindicatednoteandtheoneabove.

Sometimesitisexpectedthatthetrillwillendwithaturn(bysoundingthenotebelowratherthanthenoteabovethe
principalnote,immediatelybeforethelastsoundingoftheprincipalnote),orsomeothervariation.Suchvariations
areoftenmarkedwithafewgracenotesfollowingthenotethatbearsthetrillindication.Thetrillisindicatedby
eitheratroratr~~,withthe~representingthelengthofthetrill,abovethestaff.InBaroquemusic,thetrillis
sometimesindicatedwitha+(plus)signaboveorbelowthenote.

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ThereisalsoasingletonetrillvariouslycalledtrilloortremoloinlateRenaissanceandearlyBaroque.

Mordent

Themordentisthoughtofasarapidalternationbetweenanindicatednote,thenoteabove(calledtheuppermordent,
invertedmordent,orpralltriller)orbelow(calledthelowermordentormordent),andtheindicatednoteagain.

Theuppermordentisindicatedbyashortthicktilde(whichmayalsoindicateatrill)thelowermordentisthesame
withashortverticallinethroughit:

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Aswiththetrill,theexactspeedwithwhichthemordentisperformedwillvaryaccordingtothetempoofthepiece,
but,atamoderatetempo,theabovemightbeexecutedasfollows:

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Confusionoverthemeaningoftheunadornedwordmordenthas
Mordents
ledtothemoderntermsupperandlowermordentbeingused,
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ratherthanmordentandinvertedmordent.Practice,notation,and
nomenclaturevarywidelyforalloftheseornaments,thatisto FirstbarofGoldbergVariation7,first
playedwithlowermordents,then
say,whether,byincludingthesymbolforamordentinamusical without(134KB)
score,acomposerintendedthedirectionoftheadditionalnote
(ornotes)tobeplayedaboveorbelowtheprincipalnotewritten Problemsplayingthisfile?Seemediahelp.
onthesheetmusicvariesaccordingtowhenthepiecewas
written,andinwhichcountry.Thisarticleasawholeaddressesanapproximatenineteenthcenturystandard.

IntheBaroqueperiod,aMordant(theGermanorScottishequivalentofmordent)waswhatlatercametobecalled
aninvertedmordentandwhatisnowoftencalledalowermordent.Inthe19thcentury,however,thenamemordent
wasgenerallyappliedtowhatisnowcalledtheuppermordent.Althoughmordentsarenowthoughtofasjusta
singlealternationbetweennotes,intheBaroqueperiodaMordantmaysometimeshavebeenexecutedwithmore
thanonealternationbetweentheindicatednoteandthenotebelow,makingitasortofinvertedtrill.Mordentsofall
sortsmighttypically,insomeperiods,beginwithanextrainessentialnote(thelesser,addednote),ratherthanwith
theprincipalnoteasshownintheexampleshere.Thesameappliestotrills,whichinBaroqueandClassicaltimes
wouldstandardlybeginwiththeadded,uppernote.Alowerinessentialnotemayormaynotbechromaticallyraised
(thatis,withanatural,asharp,orevenadoublesharp)tomakeitjustonesemitonelowerthantheprincipalnote.
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Turn

Aturnisashortfigureconsistingofthenoteabovetheoneindicated,thenoteitself,thenotebelowtheone
indicated,andthenoteitselfagain.ItismarkedbyamirroredSshapelyingonitssideabovethestaff.

Thedetailsofitsexecutiondependpartlyontheexactplacementoftheturnmark.Thefollowingturns:

mightbeexecutedlikethis:

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Theexactspeedatwhichthenotesofaturnareexecutedcanvary,ascanitsrhythm.Thequestionofhowaturnis
bestexecutedislargelyoneofcontext,convention,andtaste.Thelowerandupperaddednotesmayormaynotbe
chromaticallyraised(seemordent).

Aninvertedturn(thenotebelowtheoneindicated,thenoteitself,thenoteaboveit,andthenoteitselfagain)is
usuallyindicatedbyputtingashortverticallinethroughthenormalturnsign,thoughsometimesthesignitselfis
turnedupsidedown.

Appoggiatura

TheAppoggiatura(/pdtjr/Italian:[appoddatura])is
Appoggiatura
anaddednotethatisimportantmelodically(unlikethe
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acciaccatura)andsuspendstheprincipalnotebysubtractingfrom
itstimevalue.Theaddednote(theunessentialnote)isone Apassagewithtwophrasesendingin
appoggiaturas,followedbythese
degreehigherorlowerthantheprincipalnoteand,iflower,it phraseswithoutthem(160KB)
mayormaynotbechromaticallyraised.Appoggiaturasarealso
usuallyonthestrongorstrongestbeatoftheresolution,are Problemsplayingthisfile?Seemediahelp.
themselvesemphasised,andareapproachedbyaleapandleftby
step.[2]

Theappoggiaturaisoftenwrittenasagracenoteprefixedtoaprincipalnoteandprintedinsmallcharacter,usually
withouttheobliquestroke:

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Thismaybeexecutedasfollows:

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Acciaccatura

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Acciaccatura(UK/tktjr/,US/tktr/,Italian:[attakkatura])comesfrom
theItalianverbacciaccare,"tocrush".Theacciaccatura(sometimescalledshort
appoggiatura)isperhapsbestthoughtofasashortervariantofthelongappoggiatura,
wherethedelayoftheprincipalnoteisquick.Itiswrittenusingagracenote(oftena
quaver,oreighthnote),withanobliquestrokethroughthestem.Theacciaccaturainthe Play
Classicalperiodisusuallyperformedbeforethebeatandtheemphasisisonthemainnotenotthegracenote.The
appoggiaturalongorshorthastheemphasisonthegracenote.

Theexactinterpretationofthiswillvaryaccordingtothetempoofthepiece,butthefollowingispossible:

Play

Whetherthenoteshouldbeplayedbeforeoronthebeatislargelyaquestionoftasteandperformancepractice.
Exceptionally,theacciaccaturamaybenotatedinthebarprecedingthenotetowhichitisattached,showingthatitis
tobeplayedbeforethebeat.(Thisguidetopracticeisunfortunatelynotavailable,ofcourse,iftheprincipalnote
doesnotfallatthebeginningofthebar.)

Theimplicationalsovarieswiththecomposerandtheperiod.Forexample,Mozart'sandHaydn'slong
appoggiaturasaretotheeyeindistinguishablefromMussorgsky'sandProkofiev'sbeforethebeatacciaccaturas.

Glissando

Aglissandoisaslidefromonenotetoanother,signifiedbyawavylineconnectingthetwonotes.Allofthe
interveningdiatonicorchromatic(dependingoninstrumentandcontext)areheard,albeitverybriefly.Inthisway,
theglissandodiffersfromportamento.

Incontemporaryclassicalmusic(especiallyinavantgardepieces)aglissandotendstoassumethewholevalueof
theinitialnote.

Schleifer

Aslide(SchleiferinGerman)instructstheperformertobeginoneortwoscalestepsbelow
themarkednoteandslideupward.Theschleiferusuallyincludesapralltrillormordenttrillat
theend.

WillardA.Palmerwrote,"Theschleiferisa'sliding'ornament,usuallyusedtofillinthegap
betweenanoteandthepreviousone."[3] Schleifernotation

InBaroquemusic
OrnamentsinBaroquemusictakeonadifferentmeaning.Mostornamentsoccuronthebeat,andusediatonic
intervalsmoreexclusivelythanornamentsinlaterperiodsdo.Whileanytableofornamentsmustgiveastrict
presentation,considerationhastobegiventothetempoandnotelength,sinceatrapidtempositwouldbedifficult
orimpossibletoplayallofthenotesthatareusuallyrequired.OnerealisationofsomecommonBaroqueornaments
issetinthefollowingtablefromtheKlavierbchleinfrWilhelmFriedemannBachwrittenbyJ.S.Bach:

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Play

RenaissanceandearlyBaroque
FromSilvestroGanassi'streatisein1535wehaveinstructionsandexamplesofhowmusiciansoftheRenaissance
andearlyBaroqueperiodsdecoratedtheirmusicwithimprovisedornaments.MichaelPraetoriusspokewarmlyof
musicians'"sundrygoodandmerryprankswithlittleruns/leaps".

Untilthelastdecadeofthe16thcenturytheemphasisisondivisions,alsoknownasdiminutions,passaggi(in
Italian),gorgia("throat",firstusedasatermforvocalornamentationbyNicolaVicentinoin1555),orglosas(by
Ortiz,inbothSpanishandItalian)awaytodecorateasimplecadenceorintervalwithextrashorternotes.These
startassimplepassingnotes,progresstostepwiseadditionsandinthemostcomplicatedcasesarerapidpassagesof
equalvaluednotesvirtuosicflourishes.Therearerulesfordesigningthem,tomakesurethattheoriginalstructure
ofthemusicisleftintact.Towardstheendofthisperiodthedivisionsdetailedinthetreatisescontainmoredotted
andotherunevenrhythmsandleapsofmorethanonestepatatime.

StartingwithArchilei(1589),thetreatisesbringinanewsetofexpressivedevicescalledgracesalongsidethe
divisions.Thesehavealotmorerhythmicinterestandarefilledwithaffectascomposerstookmuchmoreinterestin
textportrayal.Itstartswiththetrilloandcascate,andbythetimewereachFrancescoRognoni(1620)wearealso
toldaboutfashionableornaments:portarlavoce,accento,tremolo,gruppo,esclamationeandintonatio.[4]

Keytreatisesdetailingornamentation:

SilvestroGanassidalFontegoOperaintitulataFontegara...,Venice1535
AdrianusPetitCoclicoCompendiummusicesNuremberg,1552
DiegoOrtizTratadodeglosassobreclausulas...,Rome,1553
JuanBermudoEllibrollamadodeclaraciondeinstrumentosmusicales,Ossuna,1555
HermannFinckPraticamusica,Wittenberg,1556
TomsdeSantaMariaLibrollamadoartedetaerfantasia,1565
GirolamoDallaCasaIlveromododiminuir...,Venice,1584
GiovanniBassanoRicercate,passaggietcadentie...,Venice1585
GiovanniBassanoMotetti,madrigalietcanzonifrancesi...diminuiti,Venice1591
RiccardoRognoniPassaggiperpotersiessercitareneldiminuire,Venice1592
LodovicoZacconiPratticadimusica,Venice,1592
GiovanniLucaConfortoBreveetfacilemaniera...afarpassaggi,Rome1593
GirolamoDirutaIltransylvano,1593
GiovanniBattistaBovicelliRegole,passaggidimusica,madrigaliemotettipassaggiati,Venice1594
AurelioVirgilianoIlDolcimelo,MS,c.1600
GiulioCacciniLenuovemusiche,1602
GiovanniGirolamoKapsberger,Libroprimodimottettipasseggiatiunavoce,Rome,1612
FrancescoRognoniSelvadevariipassaggi...,1620
GiovanniGirolamoKapsberger,Librosecondod'arieunaepiuvoci,Rome,1623
GiovanniBattistaSpadidaFaenzaLibrodepassaggiascendentiedescendenti,Venice,1624
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JohannAndreasHerbstMusicapractica,1642

Indianclassicalmusic
InCarnaticmusic,theSanskrittermgamaka(whichmeans"tomove")isusedtodenoteornamentation.Oneofthe
mostunusualformsofornamentationinworldmusicistheCarnatickampitamwhichisaboutoscillatinganotein
diversewaysbyvaryingamplitude,speedornumberoftimesthenoteisoscillated.Thisisahighlysubtle,yet
scientificornamentationasthesamenotecanbeoscillatedindifferentwaysbasedontheragaorcontextwithina
raga.Forinstance,thefourthnote(Ma)inShankarabharanamorBegadaallowsatleastthreetofivetypesof
oscillationbasedonthephrasingswithintheraga.[5]

AnotherimportantgamakainCarnaticisthe"Sphuritam"whichisaboutrenderinganotetwicebutforcefullyfrom
agracenoteimmediatelybelowitthesecondtime.Forinstance,thethirdnote(Ga)wouldberenderedplainfirst
timeandwithaforcefromthesecond(Ri)thenexttime.[6]

OtherimportantCarnaticornamentationincludeaahatam,pratyaahatam,tripuchham,andolam,daalu,daatuandjaru.
ThelastissimilartoWesternClassicalglissando.

Innonclassicalmusic
Rockandpop

Ornamentationisalsousedinpopularmusicsuchasrockandpop.Rockpianoplayinghasincorporatedmany
ornamentsfromearly1900sbluespianostylessuchasboogiewoogie.Improvisedornamentsinrocksolosor
instrumentalmelodylinesareoftenidiosyncratictospecificinstruments.Electricguitarplayerscandrawfroman
immensearrayofornamentsthatarespecifictotheirinstrument.Hammeronsandpulloffsaretwoofthemost
basictechniques,andmaybeusedinexecutingclassicalornaments,aswellasfortheexecutionofornamentsmore
particulartoguitar(suchastapping,whichcanbeusedasornamentationorasaplayingstyleinandofitself).

Whilerockandpoparetypicallylearnedbyear,withthearrangementsfleshedoutwithimprovisation,thestylealso
includesnotatedmusic,particularlyinarrangedmusicforlargerensembles.Thisnotatedmusicusessomeofthe
mostused"Classical"ornaments,suchastrillsandmordents.

Jazz

Jazzmusicincorporatesanumberofornaments,whichcanbedividedintoimprovisedornaments.Theyareadded
byperformersduringtheirsoloextemporizations,andaswrittenornaments.Improvisedornamentsareoften
idiosyncratictospecificinstruments.TheHammondorganplayinginthejazzsubgenreoforgantriosouljazzoften
featurestrillswhichoutlinetheharmonyofachord,glissesupordownthekeyboard,andturnlikedecorations.
Saxophoneplayersmaydecorateasimplemelodylinewithturns,gracenotes,andshortglissandicreatedwiththe
mouthandthereed.

Whilejazzissubstantiallybaseduponimprovisation,thestylealsoincludesnotatedmusic,particularlyinmusicfor
largerensemblessuchasbigbands.Smallensemblesmayalsousenotatedmusicforpartoftheirperformances,in
arrangementsofatune'smaintheme.Notatedjazzmusicincorporatesmostofthestandard"classical"ornaments,
suchastrills,gracenotes,andmordents.Writtenjazznotationmayalsoincludeotherornaments,suchas"dead"or
ghostnotes(apercussivesound,notatedbyan"X"),glissandi(stepwiseglidesbetweenastartanddestinationnote,
writtenwithalongline),"doit"notesand"fall"notes(annotatedbycurvedlinesabovethenote,indicatingby
directionofcurvethatthenoteshouldeitherrapidlyriseorfallonthescale),[7]oraninstructionto"fill"partofabar
withanembellishment(notatedwithdiagonalslashesinthebar).

Celticmusic

OrnamentationisamajordistinguishingcharacteristicofIrish,Scottish,andCapeBretonmusic.Asinger,fiddler,
flautist,harpist,tinwhistler,piperoraplayerofanotherinstrumentmayaddgracenotes(knownas'cuts'inIrish
fiddling),slides,rolls,doubling,mordents,drones,trebles(orBirlsinScottishfiddling),oravarietyofother
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ornamentstoagivenmelody.

Seealso
Dreydlekh,ornamentsinklezmermusic
Ribattuta

References
1.ElaineSisman,"Variations,4:Origins",TheNewGroveDictionaryofMusicandMusicians,secondedition,editedby
StanleySadieandJohnTyrrell(London:MacmillanPublishers,2001).
2.seehttp://www.arsnova.com/Theory%20Q&A/Q93.html.AlsoKentKennan,Counterpoint,FourthEdition,pg40.
3.FirstLessoninBachforthePiano,EditedbyWalterCarroll&WillardA.Palmer,p.3
4.Rognoni,Riccardo(2002).Passaggiperpotersiessercitareneldiminuire(1592)editionwithprefacebyBruceDickey.
ArnaldoForniEditore.
5.http://www.acharyanet.com/lesson/22sarasvatibegadageetam/
6.http://www.acharyanet.com/lesson/jantaivarishais/
7.Read,Gardner(1969).Musicnotation:amanualofmodernpractice(https://books.google.com/books?id=pGQJAQAAMA
AJ).AllynandBacon.Retrieved15January2012.

Thisarticleincorporatestextfromapublicationnowinthepublicdomain:Chisholm,Hugh,ed.(1911).
"articlenameneeded".EncyclopdiaBritannica(11thed.).CambridgeUniversityPress.

Furtherreading
Donington,Robert.APerformer'sGuidetoBaroqueMusic.London:Faber&Faber,1975.
Neumann,Frederick.OrnamentationinBaroqueandPostBaroqueMusic,withSpecialEmphasisonJ.S.
Bach.Princeton:PrincetonUniversityPress,1978.ISBN0691091234(cloth)ISBN0691027072(pbk).

Externallinks
MediarelatedtoOrnaments(music)atWikimediaCommons
Chisholm,Hugh,ed.(1911)."Appoggiatura".EncyclopdiaBritannica(11thed.).CambridgeUniversity
Press.

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