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To my friend Ernest Kiver 
 
 Studies in 
 <3Iusica/ graces 
 
 Compiled by 
 ERNEST FOWLES 
 
 Author of " Studies in Part-playing " 
 
 ^rice 5/- net 
 
 Key to the questions and 
 exercises^ 2/- 
 
 WINTHROP ROGERS, Ltd. 
 
 Sole Agents : HAIVKE8 ^ SON 
 Denman St., London, W. i 
 
PREFACE. 
 
 The issue of this little book is due wholly to the desire to 
 place before the stud<^nt a ^uide. sufficiently concise and at the 
 same time adequately comprehensive, to the clearer under- 
 standing of musical graces. The author can present no claim 
 to the merit of originality, either in the sectional arrangement 
 of the ornaments or in the enunciation of the rules which 
 regulate their performance. Such merit must inevitably accrue to 
 the writers of the excellent works upon the subject already in 
 existence. Nevertheless, a new feature — as far as the author is 
 aware — may be discerned in the following pages. Each Section 
 is accompanied by a series of questions and exercises upon the 
 matter immediately in hand, the latter being intended for practi- 
 cal, as well as for the customary method of exemplification. It 
 is almost unnecessary to reiterate the fundamental fact, that, a 
 permanent grasp of elementary principles depends upon the 
 means adopted in the earher stages to test the knowledge of 
 the student. The material hitherto presented for this purpose 
 in connexion with the particular subject of this book has been 
 singularly wanting in breadth of aim and perspicuity of detail. 
 Consequently, the student, if not led away by the temptation to 
 g-eneralize, has sought refuge in the study of details of no ac- 
 count in modern music or has been content to use a treatise 
 as an ever-ready referee in just those cases when knowledge, 
 properly acquired and assimilated, should have been his only 
 guide. 
 
 It is evident, that, to be thorough and stimulating, exempH- 
 fication should bear directly upon the practice of those masters 
 whose works contain examples of indicated graces. This is the 
 
 Copyright igo'J, The Vincent Music Company Ltd * * 
 
4 
 
 Preface. 
 
 course here adopted and the student who approaches the sub- 
 ject in this manner will not only discover that constant exempli- 
 fication will bring- executive freedom, but that a strong and 
 profitable element of interest will arise from the attendant con- 
 templation of ornamentation as a whole. The source of the 
 musical grace, its development and its ultimate absorption in 
 the later phases of melodic figuration will be observed in a new 
 light and another influence be added to those which make for 
 intelligent musicianship. 
 
 It is often urged as a reason against the detailed study of 
 ornamentation, that the excellent annotation frequently to be 
 found in modern editions renders such study inoperative and 
 that, in consequence, the student might be more profitably 
 engaged in other and possibly more fruitful directions. This 
 can scarcely be reg-arded as a convincing reason for omitting 
 .a study which brings the student into closer touch with the 
 atmosphere of Bach. Indeed, nothing can be considered as 
 lying outside the sphere of minute investigation which, in 
 however small a degree, elucidates and illuminates the work of 
 that divinest of masters. It is true that we have travelled far 
 since his day; that music has taken to itself a new measure of 
 significance; that, in brief, the early promise of an individual 
 life and language — at once forcibly intellectual and fervidly 
 emotional — has been more than fulfilled by the latest phases 
 of the art. These felicitous results of a natural evolution, 
 however, but cast increased lustre upon the name and work of 
 Bach. His inimitable and directly personal style, the prophetic 
 nature of his harmonic colourings and — regarded from the 
 point of view immediately concerned — the delicacy and figura- 
 tive significance of his embellishments must, to the cultured 
 musician, for ever remain a subject of earnest and reverent 
 study. 
 
 The glossary has been added for the sake of those who, 
 perceiving the historic bearing and aesthetic significance of the 
 divisions runs and trills of an earlier day, desire to know more 
 of the nature of the influence such forms of melodic movement 
 have exerted upon the development of music. In enquiry of 
 
Preface. 
 
 5 
 
 this kind, the possession of a handy compendium of terms — 
 simply explained and adequately illustrated — will prove of no 
 small assistance. 
 
 A more utilitarian argument for the detailed study of 
 musical graces may be advanced in the minute attention bestowed 
 upon them in the examination papers of to-day. That the 
 exercises given in this book may be of service to the student 
 in the necessary task of preparation, and that the text through- 
 out may prove at once easy of comprehension and suggestively 
 illuminative is the earnest hope of the writer. 
 
 iu6. Palace Road, Tulse Hill, London. SW. 
 taster 1 9^)7 » 
 
CONTENTS. 
 
 page 
 
 Preliminary , y 
 
 Section L The Appoggfiatura and the Acciaccatura .... 12 
 
 Questions and Exercises on Section I o... 26 
 
 Section 11. The Turn , , 3^ 
 
 Questions and Exercises on Section 11 51 
 
 Section 111. The Shake 6^ 
 
 Questions and Exercises on Section 111 82 
 
 Section IV. The Upper and Lower Mordent, the Double 
 Mordent and the Slide 
 
 Questions and Exercises on Section IV loi 
 
 Section V. The Nachschlag, etc 105 
 
 Questions and Exercises on Section V 112 
 
 Section VI. Combined Graces 114 
 
 Exercises on Section VI 118 
 
 Section Vll. Graces in Vocal Music 121 
 
 Questions and Exercises on Section Vll 132 
 
 Glossary of terms bearing upon the subject of Musical 
 
 Ornamentation . . . 134 
 
I 
 
 P Preliminary. 
 
 The term Grace (Fr. agrement. ornement. Ger. Manier. It. fiori- 
 tura. abbellimento.) — as employed in connexion with music — is 
 obviously capable of extensive application. For instance, it may be 
 justly apphed to any device which elaborates the harmonic framework 
 of a musical progression; or, to the aesthetic principles which govern 
 performance generally. In a more restricted sense, however, the 
 words — embellishment, ornament or grace are concerned with the 
 decorative treatment of the sounds of a melody. 
 
 A musical grace may therefore be defined as a sound or a 
 series of sounds — essential or not to the prevailing harmony — 
 the occurrence of which disturbs the rhythmic regularity of a melody 
 primarily and necessarily formed upon the even beats of time. The 
 following passage, for example, is entirely devoid of such ornamen- 
 tation. 
 
 
 
 
 
 
 
 
 — « 
 
 9 
 
 
 
 
 We may proceed to embellish this melody in diverse ways. 
 
8 
 
 Preliminary. 
 
 In (A), the melodic outline is, in three instances, temporarily 
 displaced by a sound foreign to the inferred harmony. In (B), an 
 auxiliary sound occurs immediately before three of the original sounds. 
 In (C), the time-value of every other sound is filled by a grace formed 
 by the main melodic sound and the auxiliary sounds above and below. 
 In (D), an ornament is introduced which delays the time-position of 
 each sound concerned. (E) is the exact converse of (D). In (F), 
 the melody is variously ornamented. 
 
 The graces illustrated by the above examples are all familiar to 
 modern ears. Many of the older graces — particularly those anterior 
 to the time of Johann Sebastian Bach — were of a much more florid 
 character. But, the gradual advance in melodic flexibility — ever 
 a distinctive feature of musical development — eventually annulled 
 the original purpose for which such ornaments were designed. The 
 large number introduced into the earHest instrumental music practically 
 accomplished the same purpose as the florid figuration which connects 
 the accented sounds of a modern melody. The origin of musical 
 embellishments may therefore be traced, in the first place, to the 
 desire of earlier composers and performers to invest their simple 
 diatonic melodies with figurative charm. At a time when the rela- 
 tionship of sounds, the resources of harmony and the possibilities 
 of rhythmic expression were but imperfectly realized, such ornamen- 
 tation was indispensable to an effective presentation of music. It was 
 a natural consequence of the inadequate notation of the period, that 
 the indication of embellishments was often vague in the extreme; 
 further, that, in the course of time, the method of their execution 
 became a matter of induction rather than of traditional rule. In many 
 cases indeed, the introduction of graces, though enjoined, was left to the 
 skill and taste of the performer. From at least one point of view, 
 this is much to be regretted. But, the development of the rhythmic 
 element gradually rendered the older graces purposeless and the 
 sifting process went on until the days of J. S. Bach, from the work 
 of which master our survey of musical ornamentation commences. 
 It does not lie within the scope of this treatise to trace the gradual 
 elimination of graces which newer forms of thought combined to 
 render meaningless; nor, on the other hand, to describe the birth of 
 compensating factors brought into existence by the natural evolution 
 of the art. Let it suffice to say, that. Bach set the seal of his 
 approval upon many of the ornaments extant in his day and, that, 
 it is from a careful study of his music that the modern student may 
 most conveniently and logically start his investigations. 
 
 Graces hold a more clearly defined position in the music of 
 Bach than that previously assigned to them. From being but little 
 more ^ than a species of local embellishment or a ready means of 
 cohesion between one sound and another, they become possessed of 
 
Preliminary. 
 
 direct melodic if not of harmonic significance; from occupying a 
 subordinate position in the expression of a musical thought, they ad- 
 vance towards their future position as an integral part of the con- 
 ception of the composer; from being largely subject to the whimsi- 
 calities of the performer, they possess a concrete meaning and require 
 to be executed in a definite manner. 
 
 Nevertheless, it must not be presumed that Bach's selection of 
 graces fixed an unalterable standard of ornamental usage. It is true 
 that many of his embellishments still form the ultimate model for 
 their performance in modern music. But, the general decline in the 
 use of ornaments — in the sense here understood — which has 
 continued almost without intermission from the time of the master, 
 has served but to differentiate the graces which he employed from 
 their modernized form in the music of later writers. 
 
 Many causes have contributed to the gradual decline in the use 
 of indicated graces. That most frequently alluded-to — the difference 
 in sustaining power between the pianoforte and its precursors, the 
 clavichord and harpsichord, and the resultant necessity for filling up 
 the gap between sounds written for the latter instruments — is so 
 obvious that it may pass without further remark, A moie pregnant cause 
 is to be found in the development of music itself. It is only necessary 
 to recall the discovery of pure monody and of the true functions of 
 rhythm, together with the result of the general application to musical 
 thought of the principles involved. These influences ultimately led 
 composers to perceive, that, the greater freedom thereby assured to 
 melodic progression, enabled them to invest their melodies with more 
 interest and significance than was afforded by the liberal employment 
 of the old graces. It is true that many of these lived on. But they 
 were presented in a new light and those only were retained which 
 blended effectively with the more elastic atmosphere of the newer 
 form of musical expression. 
 
 A third cause, and perhaps the most suggestive, is discoverable 
 in the development of the element of style. This influence has 
 worked silently from the very cradle of the art towards the gradual 
 elimination of all elements which retard development and arrest pro- 
 gress. We have seen it at work in the case of Bach, whose careful 
 selection of ornaments was the outcome of his desire, that, those 
 which were appropriate and which served to enhance the end in 
 view should alone be introduced into his music. The same silent 
 influence may be observed in the work of every great stylist since 
 the days of Bach. In the purely decorative period which succeeded 
 to that of the master, the influence of his selection still, to a large 
 extent, controlled not only the actual graces employed but also their 
 significance in melodic progression. But, as style progressed from 
 the decorative towards the emotional, the number of grace-signs - 
 
10 
 
 ir*rel]rninary. 
 
 as the indication of standard ornaments — became considerably less. 
 It was not because melody had become less flexible but rather be- 
 cause, on the contrary, its elasticity had increased to so great a 
 degree that it no longer depended upon artificial additions for its 
 full effect. In other words, every sound claimed its share in the 
 significance of a melodic progression and those sounds which heretofore 
 were deemed to possess but a decorative and inessential connexion 
 with melody, were now ranked as essential and characteristic units 
 without which melody, in the modern sense, could not exist at all. 
 
 To apprehend more fully the subject of ornamentation, it should 
 be approached from more than one point of view and notably from 
 that of the composer. Bach's employment of graces, for example, 
 is peculiarly his own and the manner of their execution is laid down 
 upon clear if not strict lines. In Mozart, on the contrary, some 
 experience and discrimination is necessary for their clear apprehension 
 and performance. In Chopin, again, we observe the influence of 
 the older and stricter atmosphere. And this divergence in practice 
 is more or less characteristic of all great writers whose works 
 contain examples of indicated ornamentation. 
 
 It would therefore appear, that, the study of ornamentation 
 should be entered upon in chronological fashion. (i) Nevertheless, 
 it is possible to formulate rules applicable, in a general sense, to 
 ornamentation from the period above referred-to down to modern 
 times. This has been attempted in the following pages and, in view 
 of greater simplicity and brevity, no rules have been introduced but 
 those generally capable of this comprehensive application. 
 
 We have said that the graces employed by Bach are susceptible 
 of a definite interpretation. This may perhaps be also observed 
 of the ornamentation peculiar to the writers who immediately suc- 
 ceeded him. But, we art confronted with the difficulty, that, in most 
 modern editions — and, it may be added, those most generally used 
 by students — modern indications of ornamentation have been largely 
 substituted for the original signs. The suppression of the latter is 
 due to the fact that many of them have become obsolete. The 
 natural result is a confusion between older methods of embellishment 
 and those of more modern times. It is true that some of Bach's 
 ornaments, however effective they may have been upon the instru- 
 ments for which they were written, are not capable of equally effec- 
 tive interpretation upon the modern Pianoforte. In view of this fact, 
 a certain amount of expurgation was inevitable. But many signs 
 have been suppressed without the merest shadow of necessity and, in 
 consequence, the modern student frequently confuses those substituted 
 
 (I) Tliis has been done in a masterly manner by the late Mr Dannreuther in 
 his deeply interesting work — "Musical Ornamentation". 2 Vols. (Novello & Co.) 
 
Preliminary. 
 
 in their place with identical symbols employed by later writers under 
 entirely different conditions. It therefore behoves the scholarly per- 
 former to exercise a wise discrimination in this matter and^ even 
 when the execution of a grace is modified, to know perfectly the 
 difference between the original form and its modern rendering. 
 
 Lastly, although the study of ornamentation, as a whole, demands 
 a broader field of enquiry than that afforded by the enunciation of 
 general rules, the observant student must remember that the older 
 graces, having fulfilled their mission, have practically ceased to exist. 
 Nevertheless, to them can be traced the source of the present freedom 
 in melodic movement, the use of sounds auxiliary to the main sounds 
 of a melody, the introduction of discords which temporarily dislodge 
 a harmonic sound, together with all other expedients of a like nature 
 which make for figurative charm and variety. 
 
 The question therefore arises — If the older ornaments have 
 become merged in the rhythmic expression of music, what place 
 remains for their segregation as a distinct element in modern music? 
 There is but one answer to this question. In modern music, a few 
 of the graces are retained and recognized as standard ornaments 
 because of their extreme adaptability to musical thought of every 
 form. It is undeniable, that, the technical terms applied to some of 
 these would have fallen into desuetude had it been the practice of 
 the earlier modern writers to have expressed them in exact notation. 
 The ornaments, however, would have remained and it is not too 
 much to say, that, such as have survived through all the changing 
 phases of musical expression, are as important in their musical 
 significance as they are interesting in their bearing upon the tech- 
 nical history of music. 
 
 The graces recognized as such in modern music are as follows — 
 the Appoggiatura, the Acciaccatura, the Turn, the Shake, the Upper 
 Mordent, the Lower Mordent, the Slide and the Nachschlag all of 
 which are considered separately in the following Sections. 
 
12 
 
 Sec. L The Appogg-iatura. 
 
 SECTION I. 
 
 The Appoggiatura and the Acciaccatura. 
 
 I. The Appoggiatura (Fr. appogiature. Ger. Vorschlag.) is an 
 important grace of frequent occurrence both in older and in modern 
 music. The derivation of the word affords a clue to its musical 
 .significance. It comes from the It. appoggiare = to support, to lean 
 upon. The appoggiatura displaces the principal sound, i. e. the 
 sound before which it occurs, and therefore postpones its appearance. 
 Being in a stronger accentual position than the principal sound and, 
 moreover, being usually discordant with the prevailing harmony, the 
 appoggiatura momentarily creates the feeling of unrest peculiar to 
 discords and, during the brief space elapsing between its percussion 
 and resolution, may be said to rest or lean upon the accompanying 
 harmony. This will be clearly perceived if the following progression 
 be played with and without the grace in question. 
 
 A. . B. , I 
 
 Ex. I ' - 
 
 2. In modern music, the appoggiatura is generally expressed 
 in exact notation. (Ex. 2. Vide asterisk.) 
 
 Adagio. 
 
 Beethoven. Sonata Op. 22. 2°^ mov. 
 -f: 
 
 ■SL±1t ±±± ± ± ± 
 
 3. It was the custom, formerly, to indicate the appoggiatura 
 by a small untimed note, the denomination of which varied with the 
 habit of the particular writer.(i) Vide Ex. 3. This notation was the 
 
 (I) The custom survives in modern music, though in a much more restricted ibrui. 
 
Sec. I. The Appogg-iatura. 
 
 13 
 
 outcome of the discordance invariably associated with the ornament 
 and dates from the time when the elaboration of melodies by sounds, 
 discordant with the prevailing harmony, was accompanied by uncertain 
 theory and timorous practice. 
 
 Haydn. Sonata in G. i^t mov. 
 
 Ex. 3. 
 
 n ri f i r 
 
 4. An alternative indication of the appoggiatura was current in 
 the time of Bach. A short curve, upwards or downwards, represented 
 the ornament respectively below or above the principal sound. The 
 curve was given variously in single or in double form. (Ex. 4.) In 
 modern editions of the works of Bach, the small note described in 
 par. 3 is usually substituted for these signs, as well as for other 
 symbolic indications of the kind pecuhar to still older writers. 
 
 Bach. Three-part Invention in 
 
 5. The time -value of the appoggiatura is taken from that of 
 the principal sound, whether the ornament occur alone, the harmony 
 following with its resolution (Ex. 5), or whether it displace one of 
 the sounds of a chord (Ex. 6). The appoggiatura therefore stands 
 in the accentual position, the principal sound being necessarily non- 
 accented. 
 
 Mozart. Sonata in B]?- ist mov, 
 8 . 8 
 
 Ibid. Sonata in EV- i^t mov. 
 
 J. J5 i J: 
 
14 
 
 Sec. 1. The Appogfglatura. 
 
 6. The correct time -execution of appoggiature depends upon 
 a variety of conditions — harmonic , melodic, rhythmic and the 
 hke — as well as upon the tempo, style ^nd period of the work 
 into which they are introduced. The following rules from the 
 "Versuch iiber die wahre Art das Klavier zu spielen" by Carl Philipp 
 Emanuel Bach (17 14 — 1788) are usually quoted as standard prin- 
 ciples. 
 
 A. When the appogfjiatura occurs before a whole note, the latter is 
 halved, the grace-7iote and irrincipal-note taking the respective halves. Ex. 7. 
 
 Ex 7. "^dB: 
 
 Mozart. Sonata in Bp- ist mov. 
 
 J. 
 
 B. When the appoggiafura occurs before a dotted, note, it takes 
 livo-thirds from the value of the principal-note. Ex. 8. 
 
 Haydn. Sonata in D. ist mov. 
 
 Ex. 8 
 
 p » p 
 
 > 0 0 
 
 C. JVhen the appoggiatura occurs before a note tied to a shorter 
 note, it takes the entire value of the first note. Ex. 9. 
 
 Ex. 9. 
 
 M2h 
 
 Leopold Mozart. (Violinschulc) 
 
 7. As the above examples prove, it is possible to demonstrate 
 the application of these rules. Nevertheless, they do not afford an 
 absolute guide to correct performance. It is obvious, that, since the 
 appoggiatura forms a part of the time -grouping or figurative outline 
 of a melody, the two sounds concerned must always be introduced 
 with a due regard to this fact or, in other words, with melodic and 
 rhythmic propriety. This will become more evident if we cull a 
 few illuminating examples from he works of classic masters in 
 which the ornament appears in exact notation. 
 
Sec. I. The Appoggiatura. 
 
 15 
 
 8. Ex. 10 (A) contains examples of the simple execution de- 
 scribed in Rule A. par. 6. These could have been represented as in 
 (B) with similar significance. Examples such as these are of very 
 general occurrence in music of every style. 
 
 Mozart. Sonata in A, i^t mov. 
 
 9. Ex. II (A), on the contrary, contains appoggiature in which 
 the ornament takes, in each case, three parts of the value of the two 
 sounds concerned. Here we observe the influence of the melodic 
 figuration of the passage of which the bar quoted is a fragment. 
 The rhythmic outline of the whole is given in (B). The character- 
 istic feature of each rhythm is the succession of a dotted note and 
 a note of the value of the dot. This feature is necessarily preserved 
 whether a dotted note be an appoggiatura or not. 
 
 Haydn. Sonata in D. ist mov. 
 
 10. Ex. 12 is the exact converse of Ex. 11, the appoggiature 
 receiving but a quarter of the value of the principal sound. The 
 piquancy thus assured to the ornaments enables them to make an 
 effective contrast to the motives immediately before. For another 
 
le 
 
 Sec. T. The Appog-gfiatura. 
 
 reason, Clementi abbreviates the appoggiature in Ex. 13. The bare 
 effect which would have ensued, had the principal sounds been in- 
 troduced at the same moment as their octave sounds in the accom- 
 paniment, is thereby avoided. 
 
 Mozart. Sonata in C. I't mov. 
 
 Ex. u. 
 
 I 
 
 't ^dji xiis til! an tM 
 
 Ex. 13. 
 
 V 
 
 BE?! 
 
 II. Ex. 14 (A) illustrates the application of Rule B. par. 6. 
 The appoggiatura could be represented as in (B). 
 
 A. 
 
 ♦ 5 
 
 Haydn. Sonata in A. 2"^ mov. 
 
 B. I ^ I 
 
 - "3. 
 
 T 
 
 In a corresponding place of the same work, the composer reverses 
 the value of the respective sounds, giving the two -thirds to the prin- 
 cipal sound. (Ex. 15.) This rendering is very general. (Exs. 16 and 17.) 
 
 Haydn. Sonata in £\>' mov. 
 
 Ex. 15. 
 
 Ex. I 
 
 Mozart. Sonata in B \f- 2°d mov. 
 
 7. feS3=~l^: 
 
 ZS I'll L. ■■L. I I I I I I 11 I CZ 
 
Sec. 1. The Appogfg-iatura, 
 
 17 
 
 12. The rendering illustrated by Exs. 15, 16 and 17 is often 
 necessary to ensure the harmonic integrity of the principal sound. 
 Thus, the prolongation of the appoggiatura in Ex. 18 would prevent 
 the clear definition of the chord in which the ornament occurs. 
 
 Mozart. Sonata in B^. 2°d mov. 
 
 Ex. 18. 
 
 13. Ex. 19 exemplifies the application of Rule C. par. 6. The 
 appoggiatura could also be indicated as in (B). 
 
 Mozart. Sonata in G. 3rd mov. 
 
 Ilx. 19. 
 
 14. Rule C. par. 6 is open to many exceptions. The appoggia- 
 ture in the 2nd and 3rd whole bars of Ex. 20, for instance, are 
 resolved at the distance of a crotchet in order to conform to the 
 rhythmic grouping of the passage. 
 
 Mozart. Sonata in £\^- l^t mov. 
 
 Ex. 20. 
 
 15. A careful examination of the above examples will have 
 shown, that, the employment of an appoggiatura is associated with 
 a large amount of freedom and it will be reasonably supposed, 
 
 ^''"^iK Fowles StudicvS in Musical Graces. 3 
 
18 
 
 Sec. I. The Appog-giatura. 
 
 that, this freedom must be conceded in the case of those appoggia- 
 tiire which appear in mitimed form. To a certain extent, this is so. 
 Nevertheless, the student must grasp the fact that the appoggiatura 
 is required to be executed as an exactly -timed sound, i. e. the 
 two sounds, the appoggiatura and the principal or harmonic sound, 
 ought to synchronize with the subdivisions of the beat in which they 
 occur. Latitude of treatment is not coincident with a lax and indefinite 
 method of execution, but extends only to the question as to which 
 is the correct time-position of the principal sound, that of the orna- 
 ment being assured by its position in the notation. The examples 
 already given will prove of help to' the doubtful executant. A few 
 points for further demonstration may, however, here be added. 
 
 1 6. The rendering illustrated by Ex. 21 is often applied to 
 appoggiature which decorate sounds separated by the interval of a third. 
 
 Modem 0. 
 
 Ex. 21. 9'-?= 
 
 Haydn. Sonata in A"!?. 
 I St muv. 
 
 17. The execution of the appoggiature given in Ex. 22 is often 
 necessary when the motives of a rhythm require specially distinct 
 demarcation. 
 
 Mozart. Sonata in F. 2"^ mov. 
 
 "1 r 
 
 18. An appoggiatura upon a comparatively long accented 
 sound, particularly if approached by a passage of shorter sounds, 
 is generally abbreviated. Not infrequently, it approximates to the 
 value of the previous sounds. (Ex. 23.) 
 
 Mozart. Sonata in B9- mov. 
 Andante. -■ , ■- -x 
 
Sec. 1. The Acciaccatura. ig 
 
 19. When the appoggiatura appears alone, its resolution usually 
 takes place with the first pulsation of the iiarmony. (Ex. •34.) 
 
 Mozart. Sonata in B\}- ist mov. 
 
 20. Care must be taken to discriminate between the appoggia- 
 ture found in the music of Bach and those employed by later writers. 
 The appoggiatura of Bach, in the vast majority of instances, is short 
 and the rules hitherto given in no way apply. Thus, the appoggia- 
 ture in the 5 th three-part Invention take but a quarter of the value 
 of their principal sounds. In some cases, the ornament appears 
 alone, the principal sound following with the first pulsation of the 
 accompanying harmony. Two bars are here quoted. 
 
 21. An extremely short appoggiatura is known in modern 
 terminology as the Accmcca^ura.{i) (Fr. appogiature breve. Ger. kurzer 
 Vorschlag.) The word is derived from the It. aca'accare = to pound, 
 to crush. The grace is therefore sometimes called the '^crushing- 
 note'" in allusion to the suddenness and crushing-like effect produced 
 by its execution. Like the appoggiatura proper, it is indicated by 
 
 (i) N. B. The pronunciation of ilkis word is important. The second c takes 
 the form of Ch in Child. The i is like 6, though very short. The fourth c is pro- 
 nounced like the English k. Each a is broad as in arm. The following is an attempt 
 at a phonetic rendering — 
 
 d(t)chea(t)katura. 
 
 It must be particularly observed that the letters in brackets are not articulated. 
 They may be compared to those letters in French words which , though virtually 
 silent, are nevertheless present in the mind and therefore influence the pronunciation 
 of the speaker. 
 
 2* 
 
20 
 
 ;bec. I. The Acciaccatura. 
 
 a small untimed note, but is differentiated from the former by an 
 oblique stroke drawn through the stem and hook.(i) (Ex. 26.) 
 
 Allegro. Beethoven . Sonata. Op. 79 . 1*^ mo v. 
 
 Ex. 
 
 22. The word acciaccatura is the modern resuscitation of a 
 term formerly descriptive of an ornament peculiar to keyboard in- 
 struments and of somewhat kindred style. The two sounds of the 
 old acciaccatura occurred together, the auxiliary sound being imme- 
 diately raised and the principal sound retained. Bach employed the 
 acciaccatura against one of the sounds of a chord, the latter being 
 played in arpeggiando fashion. An interesting example occurs in the 
 ''Scherzo" of the 3rd Partita (Ex. 27. A) which Dannreuther (Musical 
 Ornamentation. Pt. I. p. 188) solves as in (B) and happily designates 
 ''a veritable scrunch". 
 
 Presto. 
 
 Ex. 27. 
 
 23. Owing to the rapidity with which the acciaccatura is played, 
 its time-value is necessarily very minute. But the value, however short, 
 must always be taken from that of the principal sound. Ex. 28 (A) 
 is an approximation of the execution required for the acciaccature in 
 Ex. 26. The rendering given in (B) is entirely wrong, the value of 
 the ornament being taken in each case from the previous sound. 
 A. 
 
 i 
 
 ri- 
 
 Ex. 2? 
 
 3 5.. F v.. 5 
 
 (I) "This transverse stroke is probably an imitation of the stroke across the 
 note in the (now obsolete) acciaccatura." Franklin Taylor in Grove's Dictionary 
 Vol. I. p. 77. For this stroke, vide Ex. 27, 
 
Sec. 1. The Appogg-iatura and the Acciaccatura. 21 
 
 24. The acciaccatura is frequently called the ''short appoggia- 
 tura** in contradistinction to the true or long appoggiatura. The 
 adoption of the term acciaccatura, however, has this advantage, that 
 it helps to differentiate two ornaments which, though derived from 
 an identical source, represent two extremes in musical effect of 
 the kind. 
 
 25. The points of difference between the appoggiatura and the 
 acciaccatura may be summed-up as follows. — 
 
 A. The appoggiatura, if not represented in exact notation, is 
 indicated by a small note, the species of which varies with the time- 
 conditions of its execution as well as with the individual practice 
 of the composer. The acciaccatura, on the other hand, is represented 
 by a small quaver (i) with the distinguishing obHque stroke. 
 
 B. The appoggiatura is comparatively long, taking, as we have 
 seen, one half or two-thirds and occasionally even more of the 
 value of the principal sound. The acciaccatura, on the contrary, 
 is always an extremely short sound and takes as litde as possible 
 of the value of the principal sound. 
 
 C. In the appoggiatura, the accent falls upon the grace. In the 
 acciaccatura, the principal sound receives the accent. 
 
 D. The appoggiatura, frequently influences the expressive signif- 
 icance of the melody which it embeUishes. It is distinctly a melodic 
 sound and, as a discord, ''leans upon" the harmony and carries the 
 mind easily forward to its sound of resolution. The acciaccatura is 
 more often employed to give a special emphasis to the principal 
 sound and can never be strictly regarded as a melodic sound. (Cf. 
 the respective derivations, pars, i and 21.) 
 
 26. If the respective methods of indicating these two graces 
 had been universally adopted by composers, a source of much 
 confusion would have been avoided. Unfortunately, however, the 
 small note with the obhque stroke — an indication by no means 
 modern, though essentially modern in its limitation to the acciacca- 
 tura — has been often employed to indicate the appoggiatura. Con- 
 versely, the small note without the stroke has occasionally been used 
 as an indication of the acciaccatura. We have already seen that it 
 was a frequent habit of composers to express appoggiature in exact 
 notation. This fact has been taken advantage of by the editors of 
 modern annotated editions and, by careful collation and comparison, 
 the intention of the composer has been approximately demonstrated. 
 The following aids to the clearer comprehension of this matter are 
 somewhat modified by the fact, that, local conditions — harmonic, 
 melodic, and the like — often tend to break the force of rules 
 necessarily formed upon general grounds. 
 
 (1) Occasionally, by a small semiquaver. Vide Exercise 26. C. of this Section. 
 
22 Sec. 1. The Appoggiatura and the Acciaccatura. 
 
 27. We must first recall the essential difference between the 
 appoggiatura and the acciaccatura outlined in (D.) par. 25. A just 
 appreciation of this difference will prove of more service than the 
 enumeration of necessarily inadequate rules. The following fragments 
 from the same movement (Sonata in D. Haydn) afford an excellent 
 illustration of this fact. The comparative breadth of the melodic 
 outline of (A) obviously requires the incorporation of the ornaments 
 into the rhythmic texture. Consequently, they are examples of the 
 true appoggiatura. The vivacious charm of (B), on the contrary, 
 demands that the rhythmic outline indicated by the quavers should 
 not be broken by an undue shortening of their value. They are 
 accordingly played as acciaccature. 
 
 Moderato. 
 
 i. II n. n H ^^ -N. n 
 
 Ex. 29. g^:e-^-^-^ 
 
 ICj' 
 
 Method of performance. 
 
 m- 
 
 ^ • p 
 
 B. 
 
 f 
 
 — ^ J - 
 
 28. Acciaccature are usually associated with sounds which 
 require a particular emphasis. Such often occur at the commence- 
 ment of a passage (Ex. 30), though by no means invariably so. 
 
 Mozart. Sonata in C. i^t mo v. 
 
Sec, 1. The Appogg-Iatura and the Arciaccatura. 2i, 
 
 29. The grace-note prefixed to a succession of notes at the 
 same pitch (Ex. 31); to detached (Ex. 32) or staccato notes (Ex. 33I; 
 to a series of notes separated by disjunct intervals (Ex. 34) is almost 
 invariably an acciaccatura, 
 
 Mozart. Sonata in C. 2"d mov. 
 
 Ex. 31. 
 
 .1 I I 
 
 Kx. 32- feiBziz 
 
 Ibid. Sonata in C. i^t mov. 
 
 Ibid. Sonata in C. mov. 
 
 H 
 
 Ibid. Sonata in C ist mov. 
 
 Ex. 
 
 30. When the grace-note is separated from the principal note 
 by an interval larger than a 2"^, an acciaccatura is usually intended. 
 (Ex. 35.) This is invariable when the interval is an octave. (Ex. 36.) 
 
 Mozart. Sonata in i^. 3rd mov. 
 
 Ex. 35. 
 
 Ibid. Sonata in C. 3rd mov. 
 
24 Sec. I. The Appog-giatura and the Acciaccatiira. 
 
 31. When the grace-note appears before a group of short but 
 equal sounds (Ex. 37) or before the equal subdivisions of a time- 
 beat (Ex. 38), it is always an acciaccatura. 
 
 Haydn. Sonata in F. 2nd niov. 
 
 Ex. 37. 
 
 Ex. 38. 
 
 -4 
 
 Ibid. Sonata in G. 2nd mo v. 
 
 P 
 
 32. If the grace -note occur before a very short note, it is 
 necessarily an acciaccatura. (Ex. 39.) 
 
 Allegro. 
 
 Mozart. Sonata in C, mo v. 
 3 
 
 oi- 
 easier 
 
 H'^" ' I 
 
 33. When the execution of a grace -note as an appoggiatura 
 would destroy the symmetry of the rhythmic outline; an acciaccatura 
 is obviously intended. (Ex. 40.) 
 
 rhythmic outline. -/^ J J J J , J_j J JT J- J J JT T^ 
 
 Haydn. Sonata in B\^- 2nd mov. 
 
 
 
 ^ 1 
 
 
 
 
 
 
 
Sec. 1. The Double Appoggiatura. 
 
 25 
 
 34 A grace-note upon the penultimate harmony of a cadence 
 is most frequently an appoggiatura. Ex. 41 (A) illustrates such an 
 ornament in exact nota-tion; (B) with the untimed mdication. If the 
 final sound of the cadence be anticipated and the grace be prefixed 
 to the note immediately before the anticipation, an acciaccatura is 
 almost invariably required (C). 
 
 Mozart. Sonata in C. 
 A. mov. 
 
 Ex. 41 
 
 Haydn. Sonata in F, 
 B. ist mov. 
 
 
 
 1 — Z ' 
 
 
 
 Field. Nocturne in A. 
 
 C. 
 
 oti Two grace-notes, separated by a 3rd or larger interval, 
 are occasionally prefixed to a note, their time-value, unless otherwise 
 indicated, being taken from that of the latter or principal note. 
 (Ex 42) This ornament is known as the Doul>/e Appoggiatura. 
 (Fr.* appogiature double, double. Ger. Doppelvorschlag.) 
 
 Mozart. Sonata in C. mov. 
 ^. I' 
 
 Ex. 42. 
 
 Allegro. 
 
 36. The execution given in the above example is so rapid that 
 the terra Double Acciaccatura would perhaps more aptly describe the 
 
26 
 
 Sec. I. The Double Appoooi^tura. 
 
 ornament. In the following examples, the composer indicates the 
 rendenng of the double appoggiatura in the first bar by the succeeding 
 examples in exact notation. 
 
 Allegro moderaio. 
 
 Haydn. Sonata in E^- i niov. 
 
 37- When the interval which separates the auxiliary sounds is 
 larger than a 3rd, the rendering should be more leisurely. (Ex. 44, 
 U. A and B.) The student must here note that the second auxiliary 
 of the double appoggiatura is always one degree removed from the 
 principal sound. When this is not the case, the ornament is generally 
 a broken chord and not a double appoggiatura. (Ex. 45.) 
 
 C. P. E. Bach. 
 
 A. 
 
 ,x. 44 
 
 
 
 
 
 HP 
 
 J 
 
 
 
 Mozart. Sonata in A (Menuetto). 
 
 Ex. 45. ^S^-==^^^!===q 
 
 Questions and Exercises on Section 1. 
 
 1. Describe the nature of the appoggiatura. 
 
 2. Explain why the first crotchet of the following progression could 
 not be regarded as an appoggiatura. 
 
 r 
 
Section I. 
 
 27 
 
 3. Mark the appoggiature in the following. 
 
 4. Rewrite the above and substitute for each appoggiatura a small 
 untimed note, the value of which must agree with its inferred 
 time-duration. 
 
 5. What advantage may be claimed for the modern method of 
 indicating the appoggiatura, compared with that in former use? 
 
 6. Why was the appoggiatura originally written outside the normal 
 time-measurement? 
 
 7. Substitute the original indications for the appoggiature in the 
 following passage from Bach. 
 
 10. 
 
 II. 
 
 W^hy may not the appoggiatura ordinarily be played before the 
 time-position of the harmony which it embellishes? 
 Why is some amount of executive latitude often inherent in the 
 nature of the appoggiatura? 
 
 Detail the three rules referring to the time-distribution of ap- 
 poggiature and their principal sounds and which are often quoted 
 as standard principles of performance. Why is it impossible 
 to regard these rules as a sure guide? 
 
 Why would the given solution of the appoggiatura in the fol- 
 lowing progression be incorrect? Rewrite the passage correctly. 
 
 m 
 
 t ^ 
 
 ^ 
 
 rrr 
 
28 
 
 Section I. 
 
 12. Why is the appoggiatura now invariably written in exact notation? 
 J 3. Name the broad difference between the appoggiatura of Bach 
 and that of later writers. 
 
 14. Why is the term — short appoggiatura — more exact than ac- 
 ciaccatura? Why is it better, nevertheless, to use the latter term? 
 
 15. What is the essential difference between the old acciaccatura 
 and the modern ornament of the same name? 
 
 16. Give — in detail and in your own language — the four points 
 of difference between the appoggiatura and acciaccatura. 
 
 17. Why is it frequently difficult to distinguish the appoggiatura 
 from the acciaccatura in the music of the earlier modern com- 
 posers? 
 
 18. Give — from memory — the occasions when, in the music 
 alluded to in the last question, it may be reasonably supposed 
 that an acciaccatura is intended. 
 
 19. What difference is often observed between the appoggiatura 
 and acciaccatura when the ornaments respectively occupy a 
 cadential position? 
 
 20. What distinguishes the double appoggiatura from other orna- 
 ments consisting also of three sounds? 
 
 21. What has been suggested as the derivation of the oblique stroke 
 in the modern acciaccatura? 
 
 22. Why is it essential that the true appoggiatura should be dis- 
 cordant with the prevailing harmony? 
 
 23. Express, in exact notation, the following appoggiature from Bach. 
 (N. B. The student should also be prepared to exemplify these 
 and the following exercises by actual performance upon the 
 Pianoforte.) 
 
 A. Andante. B. Adagio. 
 
 C. Allegro. D. Andante. 
 
 I 
 
Section 1. 
 
 2Q 
 
 E. Andante, 
 
 
 
 
 
 
 F. Adagio. 
 
 — ■ r: ^ ^ 
 
 G. Allegro. 
 
 1^ 
 
 H. Andante. 
 
 Handel. 
 
 r- r T r 
 
 24. Express, in exact notation, the following untimed ornaments, 
 tal^en in each case from the works of Haydn. 
 
 A. Allegro moderato. 
 
 moderato. | 
 
 B. Moderato. 
 
30 
 
 Section L 
 
 C. Andante. 
 
 iff 
 
 1^3 ^3 k*^3 
 
 0 
 
 D. Larghetto. 
 
 ^ \ I ^ s I ^ s* • • 
 
 >rB 
 
 1^ 
 
 Iff 
 
 E. Adagio. 
 
 F. Presto. 
 
 G. Allegro. 
 
 H. Andante. 
 
 25. Reproduce, in exact notation, the following passages from the 
 works of Mozart. 
 
 A. Allegro. 
 
Section 1. 
 
 B. Allegro. 
 
 C. Andante. 
 
 i» * 1^^^^ — » =-- 
 
 tlilfT LtflL/ r 
 
 D. Allegro. 
 
 r 
 
 \r?> 
 
 E. Adagi 
 
 J^^zz T^ ^ '^^ : 
 
 F. Andanle, 
 
 G. Andante, 
 
32 
 
 Section I. 
 
 H. Andante, 
 
 ^struts 
 
 r T 
 
 1 
 
 I. Allegro. 
 
 26. Give, in exact notation, the solution of the following ornaments 
 from Beethoven. 
 
 i 
 
 A. Allegro. 
 
 i. ^5 I J. F=55 I 
 
 f f 
 
 r r 
 
 B. Allegretto. 
 
 C. Adagio. 
 
 D. Presto. 
 
 E. Allegretto. 
 
 F. Allegro. 
 
 t^rn-^ f'r-V-i ^J-T~^' ^i^^^ 
 
 I 
 
Sec. II. The Turn. 
 
 27. Indicate, when possible, the appoggiature and acciaccatare of 
 the following passage by small, untimed notes. 
 
 SECTION 11. 
 
 The Turn. 
 
 1. The Tiirn — Yx. groupe. Ger. Doppelschlag. It. gruppetto — 
 
 is essentially the graceful ornament. It is indicated by the symbol cc 
 and comprises two varieties, viz. — the turn oi four sounds and the 
 turn of five sounds. 
 
 2. The turn of four sounds is formed by the consecutive occur- 
 rence of (A) a sound one degree above that indicated by the prin- 
 cipal or written note, (B) the principal sound, (C) a sound one degree 
 below the latter and (D) the repetition of the principal sound. (Ex. i .) 
 The turn of five sounds commences with the principal sound, but is 
 otherwise precisely similar to the turn of four sounds. (Ex. 2.) 
 
 Ex. I. 
 
 f 
 
 Ex. 2. 
 
 9i 
 
 3. Two auxiliary sounds therefore participate in the formation 
 of the turn. These are respectively called the upper auxiliary and 
 lower auxiliary. To this fact can be traced the origin of the German 
 term — Doppelschlag = (lit.) double-beat. 
 
 Ernest Fowles, Studies in Musical Graces. . 3 
 
6Jt 
 
 Sec. n. The Turn. Pitch-formation of — 
 
 4. Either auxihary, or both, may be chromatically altered by 
 accidentals. These are placed above or below the symbol. In the 
 former case, the accidental refers to the upper auxiliary; in the latter 
 case, to the lower auxiliary. 
 
 5. By the application of chromatic alteration, the turn becomes 
 susceptible of four varieties. 
 
 A. The upper auxiliary at a semitone; the lower auxiliary at 
 a tone. Ex. 3 (A). 
 
 B. The upper auxiliary at a tone; the lower auxiliary at a semi- 
 tone. Ex. 3 (B). 
 
 C. Both auxiliaries at a tone. Ex. 3 (C). 
 
 D. Both auxiliaries at a semitone. Ex. 3 (D). 
 
 (A) and (B) are the most usual forms and are called Diatonic Twns. 
 (C) is sometimes necessary in older music but, when required in 
 modern music, is invariably written out in full. (D) is called the 
 CJironiatic Turn and is rarer than the diatonic turns. 
 
 A. I' 
 
 Ex. 3. 
 
 15. 
 
 0=6 
 
 D. 
 
 CS3 
 
 6. Chromatic alterations are often omitted by the composer. 
 Consequently, it is necessary that the executant should clearly per- 
 ceive when and why the}^ are required. 
 
 7. The pitch of the upper auxiliary is uniform^ that of the 
 degree of the diatonic scale next above the principal sound. Thus, 
 the upper auxiliary of Ex. 4 (A) will be B b ; that of (B) will be F ^ ; 
 that of (C), E k 
 
 A. B. C. 
 
 CS5 CNS CNT 
 
 8. The pitch of the lower auxiliary is less clearly defined. In 
 music of the time and in the style of Bach, it is necessary to iden- 
 tify the sounds of the turn with those of the key. Thus, the 
 
Sec. II. The Turn. Pitch-formation of — 
 
 35 
 
 auxiliaries of the following turns will correspond in pitch with the 
 diatonic degrees of the respective keys. 
 
 Ibid. 
 
 Kx. 5. 
 
 Bach. 
 
 Ibid. 
 
 9. The auxiliaries of the above turns are, in each case, at the 
 distance of a tone from the principal sound. Cf Ex. 3 (Cj. This 
 species of turn, though perfectly in harmony with the music of Bach 
 and of kindred writers, is not effective in music of a more modem 
 type. The development of chromaticism has brought the semitone 
 into greater prominence, as an important if not indispensable feature 
 in melodic progressions of the kind. Hence, to modern ears, the 
 most perfectly proportioned form of turn is that which contains one 
 semitone. Cf Ex. 3 (A) and (B). Of such turns, the major scale, 
 unaided by chromxatic inflections, yields four, viz. — those upon the 
 i^S 3^^f 4^^ 7^^ degrees. The turns upon the remaining de- 
 
 grees are, in their strictly diatonic form, similar to those quoted 
 above from Bach, i. e. their auxiliaries are, in each case, separated 
 from the principal sound by the interval of a tone. (Ex. 6.) 
 
 2nd 
 
 1 St yd Ath. 
 
 6th 
 
 0—^ 
 
 7th degrees 
 
 10. It is evident, that, the turns upon the 2nd^ 5th and 
 6th degrees, diatonically considered, do not fulfil the requirements 
 of the modern turn. Since it is necessary to preserve the diatonic 
 pitch of the upper auxiliary (par. 7), the requisite alteration is made 
 in the lower auxihary. Consequently, in these three instances, the 
 latter sound is raised a semitone. Hence arises the rule, that the 
 pitch-formation of a turn is governed by the size of the interval be- 
 tween the principal sound and the upper auxiliary. When this interval 
 
 6* 
 
36 
 
 Sec. 11. The Turn. Pitch-formation of — 
 
 is a semitone, the lower auxihary is diatonic; when it is a tone, the 
 lower auxiliary is, if necessary, chromatically raised to form the 
 counterbalancing semitone. Ex. 6 may now be given in amended 
 form. (Ex. 7.) 
 
 Ti. A few examples will more clearly demonstrate this point. 
 Exs. 8 and 9 contain turns upon the mediant and leading-note respect- 
 ively. Since, in both cases, the upper auxihary is at the distance 
 of a semitone from the principal sound, no chromatic alteration of 
 the lower auxiliary is necessary. On the other hand, Exs. 10 and 11 
 
 Beethoven. Sonata Op. 2 No. I. 2"^ mov. 
 
 contain turns upon the supertonic and dominant respectively. Since, 
 in both cases, the upper auxiliary is at the distance of a tone from 
 the principal sound, the lower auxiliary is chromatically raised to 
 form the necessary semitone. 
 
 Beethoven. Sonata Op. 2 No. i. 2nd mov. 
 
 CN3 
 
 Beethoven. Sonata Op. 2 No. 3. 2nd mov. 
 
 Fix. 1 1. 
 
 A t t^t-t- 
 
 t f f firf ^ 
 
Sec. II. The Turn. Pitch-formation of — 
 
 37 
 
 12. Upon a review of the construction of turns upon the de- 
 grees of the minor scale, we find that those upon the first 3 degrees, 
 together with that upon the 5th, entirely accord with the recognized 
 form of the modern turn. The auxiliaries of the turn upon the 
 4th degree, on the contrary, are both at the distance of a tone from 
 the principal sound, while the turns upon the 6th and 7th degrees 
 contain an interval of 3 semitones and are clearly impracticable in 
 tha<- particular form. 
 
 I St 
 
 2nd 
 
 Ex 
 
 6th 
 
 mm 
 
 7-th degrees. 
 
 13. The semitone below the principal sound blencJ^* more per- 
 fectly with the minor mode than the tone. It is therefore . often in- 
 troduced even when the upper auxiliary is also but a semitone re- 
 moved from the principal sound. Cf Ex. 3 (D). The turn upon the 
 dominant is almost invariably thus played. In Ex. 13, the master 
 has written the ornament in exact notation. 
 
 Beethoven. Sonata Op. lOi. 3rd mov. 
 
 Ex. 13. 
 
 14. The turn upon the supertonic is also frequently, though 
 by no means invariably, played in chromatic form. If, however, the 
 principal sound be immediately followed by the tonic or if the tonic 
 be especially prominent, either in the accompanying or in the con- 
 textual harmony, the diatonic form is usually employed. (Ex. 14.) 
 
 Beethoven. Sonata Op. 2 No. 2. 2nd mov. 
 
38 
 
 Sec. II. The Turn. PiLch-loriiiaiion of — 
 
 15. The augmented in the turn upon the 6tli degree is 
 ehuiiiiated by the melodic employment of the minor 7th as the upper 
 auxiliary (Ex. 15); that in the turn upon the yi'^ degree, by the 
 employment, also melodic, of the major as the lower auxiliary 
 (Ex. 16). In the latter case, a tone is invariably observed between 
 the principal sound and lower auxiliary. 
 
 Ex. 16. 
 
 Beethoven. Sonata Op. 2 No. 2. 2^^ mov. 
 
 » , 
 
 i6. The semitone below the principal sound is observed in 
 all cases, major or minor, in which a continuous succession of turns 
 occurs upon consecutive degrees of the scale. (^Ex. 17.) 
 
 Schubert. Impromptu Op. 142 No. I, 
 
 Ex. 17. 
 
 
 1 
 
 
 g p ^ 
 
 
 9 
 
 
 
 
 
 
 
 
 
 17. Turns upon chromatic sounds are exceptional and not 
 amenable to strict rule. The composer usually conve3^s his meaning 
 by clearty indicating the pitch of each auxiliary. (Ex. 18.) 
 
 Beethoven. Sonata Op. 2 
 
 1 lU 
 
 It :St :Sl ^ ^ -it ^ 
 
 uw f r r tU 
 
Sec. II. The Turn upon undotted notes. 
 
 3'^ 
 
 18. Such are the general rules which influence the pitch-for- 
 mation of turns. Modifications necessarily ari.se under exceptional 
 conditions, but these are generally indicated by the composer. 
 One point we must however add. Since the pitch of the auxiliaries 
 depends upon the tonality of the passage in which a turn occurs, 
 it is evident, that every change of key in the course of a move- 
 ment must, to this end, be carefully remarked by the executant. 
 For instance, the following progression from a movement in E t>, 
 modulates at this particular point to Ck The auxiliaries of the 
 turn will therefore fall into line with the latter key, whether their 
 exact pitch be indicated by accidentals or not. 
 
 Schubert. Sonata in Op. 122. 4th mov. 
 
 Ex. 19. 
 
 19. The time occupied in the execution of a turn is almost 
 invariably taken from that of the principal sound, (i) When it is 
 desired that the turn should precede the time-position^ of the sound 
 indicated by the written note, the ornament is written out in full. (Ex. 20.) 
 
 Mozart. Sonata in B'?- 3rd mo v. 
 
 Ex 20. 
 
 20. The turn is also frequently expressed in exact notation 
 when the execution of the ornament is entirely normal. The turns 
 in Ex 21 (A) could be represented as in (B) with a precisely similar 
 
 result. 
 
 Haydn Variations in Fxam. 
 
 Ex. 21 
 
 A. 
 
 (O An exception occurs when, for thematic reasons, it is necessary to preserve 
 exactly the time-position of the principal sound. Cf. Exercise 23. H. in this Section. 
 
Sec. II. The Turn upon undotted notes. 
 
 21. When the turn is placed over a whole note of short or 
 of comparatively short value, the sounds of the ornament follow one 
 another rapidly, commencing with the upper auxiliary and con- 
 temporaneously with the time-position of the written or principal note. 
 The turn finishes before the expiration of the principal sound which 
 is then held for the full completion of its value. The portion of 
 the principal sound which remains after the execution of the turn 
 is necessarily proportioned to the tempo of the passage in which 
 the ornament occurs. (Cf. Exs. 22 and 23.) The turn may, however, 
 
 occur upon a sound so short that the execution of the former 
 occupies the entire time-value of the latter. (Ex. 24.) 
 
 Allegretto. Haydn. Sonata in min. mov. 
 
 22. When the turn is placed after, i. e. to the right of a whole 
 note, the rendering is the exact converse of that described in par. 21. 
 
Sec. II. The Turn upon undotted notes. 
 
 41 
 
 The principal sound is held for the greater part of its value and the 
 turn is so played, that, the last sound of the ornament occurs exactly 
 at the expiration of the time-value of the written note. In the vast 
 majority of instances, this species of turn is applied to sounds of 
 long or of comparatively long value. It can be illustrated by Ex. 25 
 (A), in which the ornament appears in exact notation. The notation 
 given in (B) would lead to a precisely similar result. Exs. 26 and 
 27 exemplify such turns indicated in the customary manner. 
 
 Allegro molto. 
 
 Mozart. Sonata in C" min. I*^*^ mov. 
 
 Ex. 25. 
 
 i 
 
 Largo. Beethoven. Sonata Op. 7. 2nd mov. 
 
 3 
 
 Ex. 26. 
 
 Ex. 27. 
 
 Prestissimo. Beethoven. Sonata Op. 2 No. i. 4^^ moY. 
 
 23. When the principal sound of a turn upon a whole note is 
 followed by a sound of the same pitch, the latter becomes the final 
 sound of the turn. (Ex. 28.) 
 
 Beethoven. Sonata (VioHn) Op. 12 No. i. i^t mov. 
 
 Allegro con br 
 
 Ex. 28. 
 
 I 
 
 I 
 
 S3: 
 
 24. When the principal sound of a turn is preceded by a sound 
 indicated by a whole note at the same pitch, the turn is played in 
 the time of the latter, provided that the last sound fall in the time- 
 position of the principal sound and, also, that the length of the 
 anticipatory sound be sufficient to permit of the execution of the 
 ornament (Ex. 29). The length of the anticipatory sound in Ex. 30 
 is insufficient to allow of the introduction of the turn before the time- 
 
42 
 
 Sec. 11. The Turn upon undotted notes. 
 
 position of the principal sound. It is therefore pla^^ed in accordance 
 with the previous rules. 
 
 Beethoven. Sonata Op. 2 No. I. 2"^ 
 
 Ex. 29. 
 
 ^ ^ ^ ^ ^ 
 
 Allegretto. 
 
 Haydn. Sonata in 6^ min. 2^*^ 
 
 Ex. 30 
 
 25. The turn in Ex. 31 also exemplifies the rule given in par. 24. 
 It is played as though the previous staccato sound were an unde- 
 tached crotchet. 
 
 Haydn. Sonata in E\> (Finale). 
 
 Ex. 31 
 
 26. Should the anticipatory sound be prolonged by the dot, 
 the rule just given is not observed. (Ex. 32.) If, however, the dotted 
 note form a complete time-beat or a series of complete beats, it is 
 treated as a whole note and the rule is strictly followed. (Ex. 33.) 
 
 Ex. 32. 
 
 Ex. 33. 
 
 Haydn. Sonata in E\>- 2nd mov. 
 
 Allegro. 
 
 27. When a turn is placed over the second of two notes 
 connected by the tie(i), the turn is so played that the last sound of 
 
 (I) Tlie rule is inoperative if the tied note be dotted. The rules relating to 
 turns upon dotted notes then come into force. 
 
Sec. 11. The Turn upon dotted notes. 
 
 43 
 
 the ornament falls in the time-position of the tied note. The length 
 of the previous sound in Ex. 34, on the other hand, does not permit 
 of the execution of the turn before the time-position of the tied note. 
 The turn therefore comes immediately after the latter. 
 
 Allegro moderaio, Schubert. Sonata Op. 122. 4th mov. 
 
 28. A turn frequently occurs upon a dotted note. When the 
 note forms a complete time -beat (Ex. 35) or a series of complete 
 beats (Ex. 36), the presence of the dot does not influence the turn, 
 the execution of which is then subject to the rules for turns upon 
 whole notes. 
 
 Ex. 35- 
 
 I 
 
 Allegro. 
 
 Beethoven. Sonata Op. 49 No. i. 2 
 
 nd 
 
 -8— #^ 
 
 Ex. 36. g 
 
 Allegro molto. 
 
 , 
 
 Beethoven. Sonata Op. I o No. I. i^t mov. 
 
 29. When a turn is applied to a dotted note which does not 
 coincide with a time-beat or series of time-beats, the execution of the 
 ornament is altogether different. If, for example, a dotted note of this 
 kind be followed by a note of the same value as the dot, a slight 
 pause is made upon the principal sound and the last sound of the 
 turn which immediately follows falls in the place of the dot. (Ex. 37.) 
 
 Beethoven. Sonata Op. 14 No. i. i^t mov. 
 Allegro. I ^ I 
 
 30. Slight departures from the above rule are sometimes im- 
 perative. Thus, its strict application to Ex. 38 (A) would result in 
 a violent rhythmic movement entirely at variance with the rest of 
 
 Ex 37. 
 
44 Sec. 11. The Turn upon dotted notes. 
 
 the passage in which it occurs (B). The free rendering given in (C) 
 possibly indicates the original intention of the composer. 
 
 Adagio. 
 A. 
 
 Beethoven. Sonata Op. 2 No. I. 2nd mov. 
 
 3T. In the somewhat rare cases where the following sound is 
 of the same pitch as the principal sound of the turn, the ornament 
 IS usually played in the time of the former, irrespective of the position 
 of the symbol, i. e. whether it be placed between the dotted note and 
 the folio wmg note or over the latter. (Ex. 39.) 
 
 Adci<;io. Haydn. Sonata in Eb- 2nd mov. 
 
 = ^ hzfczzjr 
 
 32. The rule given in par. 29 is also observed when two dots 
 are annexed to the principal note and the latter is followed by a 
 note of the same value as the 2nd dot. The last sound of the turn 
 tails m the time-position of the first dot. 
 
 Mozart. Sonata in C min. 
 
 Adasio. 
 
 3 
 
 33 If the dotted note which bears a turn be followed by two 
 or more notes of the same value, collectively, as the dot, the turn 
 IS played as though the principal sound were represented by a whole 
 note. A preparatory pause is made upon the principal sound and 
 the last sound of the turn comes exactly at the expiration of the 
 
Soc. II. The Turn upon dotted notes. 
 
 45 
 
 latter. Consequently, the turn is amalgamated with the subdivided 
 sounds which immediately follow. (Ex. 41.) 
 
 Beethoven. Sonata O;). 3' No. 2. n)ov. 
 
 34. The rule given in par. 33 is all but universally observed. 
 Instances however occur when, owing to the brevity of the princi- 
 pal sound, to rapidity of tempo or to other causes, it is impossible 
 either to make the preparatory pause or to give the correct time- 
 quantity to the ornament. Thus, the solution of Ex. 42 (A) given 
 in (B) is almost impracticable at the tempo required; that in (C) 
 omhs the preparatory pause and alters the value of the sounds 
 immediately following. Since in this particular case, the sounds of 
 the beat form a prominent figure of the movement (Haydn Sonata in 
 G. I St mov.) some executants would more wisely endeavour to 
 preserve its outward form by treating the turn as an ornament of 
 emphasis upon the principal sound (Dj. This would have the advantage 
 of retaining the generic similitude of the figure to those in the same 
 movement which contain no example of the turn. 
 
 A. Allegro con brio. B. 
 
 35. Some writers hold that attention should be directed to the 
 position of the symbol in turns such as the one just described; 
 that, if the symbol be exactly over the written note, the executant 
 should follow the rule for turns upon short v/hole notes (par. 21); 
 but if, on the contrary, it be placed after the written note, the execu- 
 tion should be according to the strict rule which governs turns upon 
 dotted notes, (pars. 28 et seq) Unfortunately, the general practice 
 of composers does not help us to formulate a definite rule upon this 
 point. For instance, the turns upon the dotted notes in Beethoven's 
 
40 
 
 Sec. II. The Turn. Untimed indications of — 
 
 Sonata Op. lo No. 3 (2ntl mov.) require the normal execution of 
 turns in such a position. Nevertheless, the symbols are in each 
 case placed exactly over the written note. On the other hand, the 
 solution of Ex. 43 offers no difficulty. The turn is manifestly intended 
 to be played in the manner given. In all such cases — as in many 
 others connected with the subject of musical ornamentation — ex- 
 perience and good taste are the only reliable passports to an accurate 
 conception of the composer's intention. 
 
 
 
 
 
 
 
 
 « 
 
 
 
 
 
 
 
 
 Haydn. Sonata in G. 2"^! mov. 
 
 — N- 
 
 
 
 
 
 
 
 
 36. The turn is frequently indicated by small notes written 
 outside the ordinary time-measurement. The indication, though oc- 
 casionally ambiguous, must be understood in the same manner as 
 when the customary symbol is employed. A distinction is generally 
 observed in the number of untimed notes used. Three such notes 
 usually indicate a turn upon or before (Vide par. 24) the sound 
 indicated by the written note while four indicate its execution after 
 the time-position of the written note. The former is illustrated in 
 Exs. 44 and 45; the latter in Ex. 46 et seq. 
 
 A /a Ho. 
 
 Beethoven. Sonata Op. 13. 
 
 Ex. 44 
 
 Andante. 
 
 Mozart. Sonata in ^b- 2nd 
 
 Ex. 46. 
 
 Adagio. 
 
 Mozart. Sonata in F. 2"d inov. 
 
 ^3^ 
 
 Adagio. Beethoven. Sonata Op. 22. 2nd mov. 
 
 5- 
 
37- Heretofore, the examples have consisted wholly of turns 
 of 4 sounds. It is true, that, in those cases where the principal 
 sound has first occurred, a turn of 5 sounds has been the virtual 
 result. This sound, however, has not actually formed a part of the 
 ornament at the moment of its execution. The true turn of 5 sounds 
 requires the latter to proceed uniformly in equal time-value. This 
 type of turn is more common in modern music and more satis- 
 factory to modern ears. In present-day performance and under cer- 
 tain conditions, it is usual therefore to introduce the turn of 5 sounds 
 irrespective of the style or period of the passage involved. Thus, 
 
 ( I ) The execution given of the first turn appears to contradict the rule referred 
 to in par. 29. It is certain however that the rhythmic symmetry of the two bars 
 entails a corresponding symmetry in the case of the two turns. We may therefore 
 conckide that the notation of the turn in question is inaccurate and that it should 
 have been as follows — 
 
48 
 
 Sec. 11. The Turn of five sounds. 
 
 if the turn be apphed to ornament a sound belonging to a figurt 
 previously heard, the principal sound will occur first. (Ex. 49.) 
 
 Allegretto, 
 
 Ex. 40. 
 
 Mozart. Sonata in B)}- 3^1 
 
 
 — 
 
 
 
 38. Similarly, if the turn be applied to a sound of special 
 melodic significance, the principal sound is heard first (Ex. 50.) 
 
 Ex. 50. 
 
 Beethoven. Sonata Op. 10 No. 1. 2nd mov. 
 
 Adagio molto. 
 
 k 1/ ^ ^ 
 
 39. Anterior to the period of Beethoven, a turn such as the 
 above was generally indicated by the symbol for the shake (Ex. 51). 
 Vide Sec. III. par. 2. 
 
 Allegro. 
 
 Mozart. Sonata in C. 3rd mov. 
 
 40. The divergence between modern and pre-modern practice, 
 in respect to the starting sound of the turn, cannot be more appositely 
 exemplified than by the following passage from Mozart. The conjunct, 
 
Sec. n. The Inverted Turn. 
 
 49 
 
 scale-like progression of the melody would lead us to suppose that 
 the turn would require the five -sound form as in (B). In more 
 modern music and — but for the exact notation supplied by the 
 composer — by the modern performer, it would be so rendered. 
 
 Andante. Sonata in ^b- 2nd mov. 
 
 41. Again, if the principal sound be preceded by a sound one 
 degree above, the five -sound form is invariably observed. 
 
 Tempo di Menuetto. Haydn. Sonata in E. 2°^ mov. 
 
 42. Lastly, if the principal sound be detached from the pre- 
 vious sound or be preceded by a rest, it is now usual to employ 
 the five -sound turn. An exception occurs when the previous sound 
 is of similar pitch and occurs immediately before, in which case the 
 four-sound form should be generally observed. (Ex. 54.) 
 
 Andante. Haydn. Variations in Fmm. 
 
 Ex. 54. 
 
 43. The turn occasionally appears in inverted form. The 
 Older of the auxiliaries is then reversed, the lower being played 
 first. In the somewhat rare cases where a symbol is employed, the 
 customary sign for the turn is reversed, thus In the music of 
 a few older writers and editions, the symbol appears in vertical 
 form, thus 8. In the great majority of cases, the inverted turn — 
 if not expressed in exact notation — is indicated by small notes. 
 (Cf. par. 36.) The rules for the performance of the inverted turn 
 differ in no wise from those already given in this Section. In 
 Ex. 55, the turn is indicated to be played without delay upon the 
 
 Ernest Fowles^ Studies in Musical Graces. 4 
 
50 Sec. 11. The Turn. Exceptional forms and rendering-s of — 
 
 primary accent (par. 21); in Ex. 56, it occurs upon short sounds 
 and also follows the rule just referred-to. 
 
 AlU^rretfo. 
 
 F.X. 55. 
 
 Ex 
 
 Mozart. Sonata in C. mo v. 
 
 —3 
 
 Andante. 
 
 Beethoven. Sonata Op. 49 No. I. i^t mov. 
 
 44. In par. i, the turn was referred to as the graceful orna- 
 ment. This is a perfectly true description of the turn in its most 
 effective phases. Nevertheless, the intelligent student will have discerned 
 the fact; that; more especially in older musiC; it is a frequent func- 
 tion of the ornament to reinforce or emphasize the principal sound. 
 This distinction should be generally remarked. When emphasis 
 rather than grace is necessary; the fact should be apparent in per- 
 formance. When; on the contrary; grace is preeminently the feature 
 of the ornament; this also should claim particular attention from the 
 executant. To the latter end; a stiff and regular performance upon 
 one of the time-divisions of the bar should be studiously avoided 
 when the tempo permits of the "weighing" of each sound. The 
 execution of Kx. 57 (A) as given in (B) is perfectly correct; in (C), 
 however; the turn is transformed into a graceful succession of un- 
 accented sounds and the ornament invested with a peculiarly artistic 
 significance unattainable from the strict and unbending form of (B). 
 
 Andante con moto . Beethoven. Variations. "La stessa, la stessissima." 
 A. B. C. -^T^ 
 
 1 ^ -r^^ 
 
 
 rr^^- 
 
 
 
 
 
 45. Exceptional forms of the turn are occasionally met v/itb 
 in the works of the- classic masters as well as in general music. 
 The following passage, for instance, which has so often proved a 
 stumbling-block to the student is usually misinterpreted owing to the 
 mistake of an early printer, (i) It should be rendered as in (B), 
 
 (I) Vide "Musical Ornamentation". Dannrt-uther. Vol.11, p. 1 1 2. 
 
Section 11. 
 
 51 
 
 conveying practically the same meaning as though the first note of 
 each group were a dotted crotchet, the last sound of the turn 
 falling in the time-position of the dot. (Cf. par. 2g). 
 
 Questions and Exercises on Section II. 
 
 1. What is the difference between the turn of 4 sounds and that 
 of 5 sounds? 
 
 2. Why is the turn known as the graceful ornament? 
 
 3. What is meant by the auxiliary sounds of a turn? 
 
 4. Are the auxiliary sounds of a turn concordant or discordant in 
 relation to the prevailing harmony? Give the reason for your 
 reply. 
 
 5. Can you conceive conditions arising under which either auxiliary 
 sound of a turn could be a sound of the prevailing harmony? 
 If SO; give an example. 
 
 6. Write the following turns, in each case filling the value of the 
 given sound with four shorter sounds of equal duration. Omit 
 the key-signatures and place the accidentals against the notes 
 as may be required. 
 
 A. b B. C. D. E. F. 
 
 7. Place the symbol above each of the turns you have just formed 
 and add the accidentals to the symbol, above or below as may 
 be required. Remember that the turns are presented without 
 key-signature. 
 
 4* 
 
52 
 
 Section Jl. 
 
 8. Write — in the same manner as the above turns — 
 
 A. Chromatic turns upon D and B j^. 
 
 B. Diatonic turns, with the semitone below, upon B and D jj. 
 
 C. Diatonic turns, with the upper semitone, on E b and G k 
 
 D. The rarer form of diatonic turn upon and B bb. 
 
 9. Which auxihary of a turn is usually diatonic? 
 
 10. How may the chromatic element be employed in connexion with 
 a turn without necessarily robbing the latter of its diatonic 
 character? 
 
 Ti. Why is the turn with both auxiliaries at the distance of a tone 
 not generally suitable to modern music? 
 
 12. Write the following turns in modern form, each to contain 
 4 sounds of equal duration. Use the respective key-signatures 
 and turn-symbols, indicating the chromatic inflections when 
 necessary. 
 
 A. Upon the tonic of B b maj. 
 
 B. „ „ mediant of min. 
 
 C. „ „ leading-note of Eb min. 
 
 D. „ „ dominant of F maj. 
 
 E. „ „ dominant of G b min. 
 
 sub-mediant of B maj. 
 
 G. „ „ supertonic of A b maj. 
 
 H. „ „ sub-mediant of B b min 
 1. „ „ mediant of Ftf maj. 
 
 13. In what manner is the augmented 2nd avoided in the turns 
 upon the 6th and 7th degrees of the minor scale? 
 
 I f. Give the rule which generally influences the pitch-formation of 
 a succession of turns upon adjoining degrees of the scale. 
 
 15. What is the difference between the inverted turn and the more 
 usual form of the ornament? 
 
 16. Write the following turns in inverted form, each to consist of 
 4 equal sounds. A. Chromatic turns upon F ^ and C b. B. Dia- 
 tonic turns with the upper semitone upon D and D b. C. Dia- 
 tonic turns with the lower semitone upon C and C bb. D. Tiie 
 rarer form of diatonic turn upon E ^ and D b. 
 
 17. What have you to remark with regard to the pitch-formation of 
 the turns in the following passage? 
 
 18. Explain, briefly, the difference of significance attached respectively 
 to the tvu-n of 4 sounds and to that of 5 sounds. 
 
Section U. 
 
 j3 
 
 19. Write out the following turns in full. Omit the key-signatures, 
 but retain the symbols over their solutions in exact notation. 
 In those cases where two solutions are possible, give both in 
 full. (N. B. In these and the following exercises, the student 
 must be prepared, by practical exemplification at the Pianoforte, 
 to illustrate the rules which govern the structure and time-dis- 
 tribution of the ornaments.) 
 
 A.. Andante. 
 
 B. Allegretto. 
 
 4- 
 
 4 
 
 C. Vivace. 
 
 CVS ^ CN5^ 
 ^ ^' 
 
 D. Andante. 
 
 E. Lento. 
 
 CO 
 
 I 
 
 4 
 
 WN3 
 
 C\5 
 
 G. Moderate. 
 
 OZ> CO 
 
 F. Allegretto. 
 
 m si 
 
 f 
 
 H. Allegretto. 
 
 I. Allegretto 
 
 ^ 
 
 K. Allegretto. 
 
 1= 
 
 J. Allegretto. 
 
 L. Andante. 
 
 I 
 
54 
 
 Section II. 
 
 N. Adagio. 
 
 O. Adagio. 
 
 1 ^ h r ; 
 
 I L 
 
 p. Allegro. 
 
 -I- 
 
 f 
 
 20. Reproduce, in exact notation, the following turns from the works 
 of Bach. 
 
 I 
 
 A. Allegro. 
 
 p 
 
 fiN5 
 
 _ ss? _ 
 
 B. Andante. 
 I 
 
 C. Allegretto. 
 
 1=^ h 
 
 g< — gr n — ^- 
 
 D. Andante. 
 
 E. Allegretto. 
 
 ^ 
 
 F. Andante. 
 
Section II. 
 
 55 
 
 
 CVS 
 
 
 
 ^ r r f 
 
 • — ^ 
 
 rr r 
 
 rrr 
 
 L. 
 
 21. Give, in exact notation, the rendering of the following turns 
 from Haydn. 
 
 A. Allegro. 
 
 B. Allegro. 
 
 
 
 ==1 b** — a — 
 
 
 
 ^ — ^ 
 
 -#- 1 1 
 
 
 C. Tempo di menuetto 
 
 D. Adagio. 
 
 E. Adagio. 
 
 F. Prestissimo. 
 
 ^ '_ c>s 
 
 G. Moderato, 
 
 3N5 
 
56 
 
 Section 11. 
 
 H. Adagio. — ^ 
 
 n « it u iTTi 
 
 
 
 
 
 • 
 
 L — 0 
 
 w 
 
 
 
 — " +r 
 
 — ^ ' 
 
 • — 
 
 m 
 
 mm 
 
 I. AUegro. 
 
 J. Moderato. 
 
 K. Allegretto. 
 
 I 
 
 f 
 
 r 
 
 L. Andante. 
 
 C\5 
 
 Presto. 
 
 1 
 
 
 CN5 
 
 
 
 
 -J 
 
 r i 
 
 
 
 N. Allegro. 
 
 O. Adagio. i^-*. 
 
 P p. Adagio. 
 
Section IT. 
 
 Q, Adagio. 
 
 R. Adagio. 
 
 1 a agio. 
 
 S. Tempo di menuetto. 
 
 J. 
 
 f ^ 
 
 22. Give, in exact notation, the rendering of the following ornaments 
 from Mozart. 
 
 A. Andante. 
 
 . \*^e^' 
 
 B. Adagio. 
 
 C. Adagio. 
 
 all ^— [ir> 
 
 D. Adagio. 
 
58 
 
 Sectfoii II. 
 
 E. AiiJante. 
 
 -d 1 
 
L. Allegro. 
 
 Section II. 
 
 M. Adagio. 
 
 59 
 
 
 
 
 
 
 
 
 -III 
 
 t ^ tfd 
 
 O. Allegro. 
 
 N. Andante. 
 
 f if 
 
 23. Reproduce, in exact notation; the following ornaments from the 
 works of Beethoven. 
 
 B, Adagio. 
 
 A. Adagio. I S £ 
 
 C. Adagio. 
 
 D. Grazioso. 
 
 E. Grazioso, 
 
 F. Adagio. 
 
 4 
 
 -J^ i- 
 
 • 1 W 
 
 j_ 
 
 G. Alligro 
 
6o 
 
 Section 11. 
 
 H. AHegro. 
 
 1, Adagio. cv) 
 
 J. Moderato. 
 
 i- 1 
 
 K. Adagio. ^ ^ <^ 
 
 1— feE 
 
 
 
 
 L Andante. 
 
 M. Andante. 
 
 ^ u 
 
 3 
 
 N. Andante. 
 
 O. Andante. 
 
 24. Substitute the customary symbol for the exact notation of the 
 following turns, redistributing the time-grouping in accordance 
 with the value of the longer sound evolved. 
 
 A. Allegro. Haydn. 
 
 I 
 
Section 11. 
 
 B. Presto. Ibid. 
 
 ^^^^^^^ 
 
 61 
 
 C. Allegretto, 
 
 Ibid. 
 
 : V 
 
 r I 
 
 D. Adagie. 
 
 Ibid. 
 
 • • • • 
 
 E. Andante. 
 
 Ibid. 
 
 ^^i f ^ ' — 
 
 J 1 
 
 F. Adagio. 
 
 
 Mozart. 
 
 
 
 
 
 T 
 4 ^ 
 
 
 
 G. Allegro. 
 
 Ibid. 
 
 ^ 3 ^ . H. Allegretto. Ibid. 
 
Section n. 
 
 I. Allegro, 
 
 Ibid. 
 
 J. Allegretto. 
 
 Ibid. 
 
 Beethoven. 
 
 K. ^//.-^r^;. 
 
 4 
 
 L. Allegro. 
 
 Ibid. 
 
 
 * 
 
 
 J J 
 
 rl 
 
 r 
 
 ^^^^^ 
 
 tL 
 
 
Sec. Ill rhe Shake !n older music. 
 
 63 
 
 SECTION m. 
 
 The Shake. 
 
 1. The Shake or Trill — Fr. trille. Ger. Trilier. It. trillo — 
 
 is the most brilliant of the graces and consists of the rapid and 
 regular alternation of the sound indicated by the written note (called 
 the principal sound) with an auxihary sound one degree above. It 
 is necessary to make a distinction between the employment of the 
 shake in modern and in older music. The latter claims our first 
 attention. 
 
 2. The shake is indicated by a waved line or ™ or, 
 
 in modern editions, by the abbreviation tr. The latter indication is 
 not infrequently followed by the waved hne, thus tr^^ 
 
 3. The diatonic sound one degree above the principal sound 
 must be understood as the pitch of the auxiliary, unless the contrary 
 be specified. In the latter contingency, an accidental is placed above 
 the sign. The flat in Ex. i signifies that D I? is to be substituted for 
 the diatonic D natural which would otherwise be played. The 
 auxiliary sound of a shake upon the 6th of the minor scale is the 
 minor 7th. (Vide Sec. 11. par. 15.) 
 
 4. The shake commences upon the auxiliary sound. (Ex. 2.) 
 
 '7 
 
 tr 
 
 Bach. Fantasia in Cmin. 
 
 Ex. 2. 
 
 5. Many circumstances arise which necessitate a modification 
 of the rule giv^en in par. 4. For example, the shake commences with 
 the principal sound when it is preceded by a sound one degree above 
 (Ex. 3) or one degree below. (Ex. 4.) 
 
 Bach Partita m (Sarabande). 
 
64 Sec. in. The Shake in older music. (The prefix.) 
 
 Bach. Italian Concerto, ist mov. 
 
 Ex. 4. 
 
 6. The shake also begins with the principal sound when the 
 latter is specially prominent as the initial sound of a passage (Ex.5); 
 or, when it is approached by an interval which melodic considerations 
 require to be exactly retained (Ex. 6). In the latter instance, the 
 gradual descent of the lower sounds from G to C is a sufficient 
 indication that the ornament should commence upon the last-named 
 sound. 
 
 Bach. D. W. K.(i) Bk. II. Fugue 13. 
 
 Ex. 5. 
 
 Ex. 6. 
 
 Bach. Concerto in Z>min. (Vivaldi). 
 
 7. When the sound which bears a shake is preceded by a rest 
 or is, in any way, detached from the previous sound, the ornament 
 is treated in the same manner as when it occurs upon a starting 
 sound (par. 6). The shake accordingly begins with the principal 
 sound. (Ex. 7.) 
 
 Bach. D. W. K. Bk. I. Fugue 6. 
 
 Ex. 7 
 
 •f3 
 
 8. A shake is often approached by prelimmary sounds which, 
 though executed within the tune- value of the written note, fall outside 
 the general scope of the ornament which may then be roughly 
 regarded as a combination of the turn and shake. Such preliminar;y 
 sounds are indicated by a curve prefixed to the waved line. When 
 the prefix is from below, it signifies that the shake is to be ap- 
 proached from the sound immediately below the principal sound. This 
 
 (r) i. e. Das Wohltempcrirte Klavier. 
 
Sec. III. The Shake in older music. (The termination.) 65 
 
 sound, together with the principal sound and the first appearance of 
 the auxihary sound then practically form an inverted turn. (Ex. 8.) 
 
 Ex. 8. 
 
 Bach. 30 Variations (Var. 14). 
 
 9. In modern editions of the older works, the above prefix is 
 sometimes indicated in the following manner. (Ex. 9.) It is unneces- 
 sary to say, that, in the execution of the ornament, the apparent 
 repetition of the principal sound is not observed. 
 
 Bach. Italian Concerto, i^t mov. 
 
 10. When the prefix is from above, the shake commences 
 with the auxiliary followed by the principal sound which, in turn, is 
 succeeded by the diatonic sound immediately below. (Ex. 10). The 
 succession of these three sounds forms a regular turn and is the 
 exact converse of the prefix described in par. 8. 
 
 Ex 
 
 ..o.plt 
 
 Uvvv 
 
 Bach. 30 Variations (Var. 1 6). 
 
 
 
 — 1 
 
 
 
 
 
 — 1 
 
 
 
 
 
 II. In modern editions, the upper prefix is also frequently 
 represented in an equivocal manner. Thus, in the final bar of Bach's 
 Chromatic Fantasia (Peter's Ed.). 
 
 ^^^^^P ^ ^^^^ 
 
 13. The shake, in general, terminates upon the principal sound. 
 ;But, under certain conditions, the diatonic sound next below the 
 principal sound may be substituted for the last appearance of the 
 auxiliary sound, thus forming a termination not unlike a turn, by 
 which term it is generally described. Such a termination is indi- 
 cated variously by the following symbols /vW, -vv/vj/; /w^, all of which 
 
 Ernest Fowles, Studies in Musical Graces. 5 
 
66 Sec. III. The Shake in older music. (The termination.) 
 
 ma}^ be regarded as conveying the same idea. Ex. 12 illustrates 
 the termination in question. 
 
 Bach. Partita in D (Menuet). 
 
 13. The termination described in par. 12 is not invariably 
 indicated. It may, however, be added when the sound which follows 
 the shake is accented or is at a stronger part of the bar, relatively, 
 than that at which the shake occurs. In such cases, modern editors 
 not infrequently indicate the termination. (Ex. 13.) 
 
 Bach. Fugue in A min. 
 
 14. The above rule is not invariable. The shakes in Ex. 14, for 
 instance, would destroy the symmetry of the one-bar figures if they 
 were connected by a turn to the following sounds. The obvious [ 
 difference between the examples here given will be sufficient to enable 
 the student to discriminate between those shakes which require the 
 termination and those in which its introduction would be fatal to the i 
 idea involved. 
 
 ^^^^ 
 
 Ba 
 
 , , , . iir 
 
 ch. D. W. K. Bk. I. Fugue 
 
 15. 
 
 
 
 
 
 
 
 15. The rule is also annulled when the shake occurs uj^on 
 the closing sound of a musical idea or rhythm, even though the 
 
Sec. III. The Shake in older music. (The termination.) 67 
 
 latter be followed directly by the sound which commences the new 
 idea. (Ex. 15.) 
 
 Bach. Concerto in 6^ min. (Vivaldi). 
 
 Ex. 15. 
 
 16. The signs which respectively indicate the prefix and the 
 termination occasionally appear in combination. Ex. 16 commences 
 with the lower prefix; Ex. 17 with the upper prefix. 
 
 Ex. 16. 
 
 Bach. French Suite No. II (Aria). 
 
 T 
 
 — 42^ 
 
 Ex. 17. 9^~c|r i^=^ 
 
 Bach. Little Prelude in C. 
 
 4f 
 
 17. Shakes upon long sounds connected by the tie to shorter 
 sounds require no embelUshed termination. (Ex. 18. A) Much confiision 
 exists with regard to the correct execution of such shakes. Some 
 executants close the ornament upon the shorter sound (B); others 
 add a turn (C). A more correct renderings however, is to close the 
 shake immediately before the shorter sound, thus allowing a conscious 
 though minute point of time to elapse between the termination of the 
 shake and the time - position indicated by the second of the tied 
 notes (D). This, it may be added, was the original practice. 
 
 Vivace. Bach. French Suite No. II (Courante). 
 
 A. fr 
 
 Ex. 18. 
 
68 Sec. III. The Shake in older music. (Upon dotted notes.) 
 
 1 8. Nevertheless ; when the note to which the first is tied is 
 followed by two notes capable of forming a termination to the shake, 
 the latter is continued over the tie and the two notes are incorpor- 
 ated into the shake. (Ex. 19.) 
 
 Bach. Fantasia in Cmin. 
 
 Ex. 19. 
 
 tr 
 
 19. No turn is added to a shake followed by an unaccented 
 sound. (Ex. 20.) 
 
 Handel. Suite No. VII. 2nd mov. 
 
 Ex. 20. 
 
 V 
 
 V 
 
 20. Shakes upon sounds indicated by dotted notes also require 
 no turn. The shake stops at or immediately before the time-position 
 of the dot. The following sound is not infrequently shortened in value 
 in order to give greater accentual force to the accented sound w^hich 
 in such cases usually follow^s the sound after the dot. (Ex. 21.) 
 
 Little Prelude No. XI. 
 
 Ex. 21. 
 
 21. If; however, the note which follows the dot be subdivided, 
 the shake continues beyond the dot and the sounds indicated by the 
 subdivided notes are incorporated with the ornament by way of 
 termination. (Ex. 22.) (Cf. Ex. 19.) 
 
 Bach. Partita No. I (Courante). 
 
 Ex. 22 
 
Sec. HI. The Shake in older music. (Upon short sounds.) 69 
 
 22. Some writers hold that the rule in regard to dotted notes 
 is abrogated if the note which follows the dot indicate the same pitch 
 as the auxiliary sound of the shake. A turn is then frequently added 
 to the latter. (Ex. 23.) (Cf. par. 27.) 
 
 Bach. Partita No. II. i^t mo v. 
 
 23. No turn is appended to shakes which occur upon a sound 
 followed by a rest. The shake does not continue during the whole 
 value of the sound, but ceases midway or a little later than midway 
 in its value. Nevertheless, the sound itself is not abbreviated in 
 value, but is held to its full extent after the cessation of the ornament. 
 (Ex. 24.) 
 
 Bach. Concerto in C (Vivaldi). 
 
 Ex. 24 
 
 24. A shake sometimes occurs upon a sound so short that a 
 due observance of the ornament results in an abbreviation of the 
 time-value of the following sound or sounds. (Ex. 25.) 
 
 Bach. Partita No. I. 1*^ mov. 
 
 /VVV 
 
 Ex. 25. 
 
70 Sec, III. The Shake in older music. (Cadential shakes.) 
 
 25. When a shake occurs upon a tied note, the latter is 
 regarded as indicating the time -position of the first sound of the 
 ornament. The shake then continues in the customary manner. (Ex. 26.) 
 
 Handel. Suite No. VII. 2nd mov. 
 
 Ex. 26. 
 
 26. The sign which, under normal circumstances, indicates the 
 upper mordent (q. v.) is occasionally though irregularly employed to 
 indicate the shake. It is generally found in a cadential position 
 (Ex. 27) (Cf par. 22). (i) 
 
 Bach. Partita No. I (Courante). 
 
 3 
 
 27. A cadential shake, preceded by a sound of the same pitch 
 as the auxiliary sound, is frequently executed as in Ex. 28. Additional 
 grace is thereby given to the ornament. Here, as in Ex. 21, the 
 sound following the dot is shortened in time-value. 
 
 Bach. D. W. K. Bk. II. Fugue 22. 
 
 Ex. 
 
 
 
 
 
 
 
 
 r 
 
 1 1 
 
 ^ -rrf- 
 
 
 
 I 
 
 (1) When the sign of the upper mordent is placed over a dotted note followed 
 by shorter notes after the manner of Ex. 22 ante, the grace must be understood as 
 a shake. This precept, as far as the writer is aware, is invariable in music of the 
 time and style of Bach. 
 
Sec. UI. The Shake in modern music. (The starting sound.) 71 
 
 28. Ex. 29 is another cadential shake which harmonic considera- 
 tions require to be executed in the manner set forth. The shake 
 stops immediately before the dot to avoid the consecutive 5ths which 
 would otherwise ensue. The sound which follows the shake is 
 abbreviated, not only because of the variable value of the dot in 
 such a position; but also to prevent the harshness that would be 
 caused by the sounding of the 7th as a bichord. 
 
 Bach. D. W. K. Bk. II. Fugue 19. 
 
 4S: 
 
 Ex. .9. pEE 
 
 T 
 
 LJ 
 
 r 
 
 29. We may now turn to the employment of the shake in 
 modern music. In the method of indication and the pitch of the 
 auxiliary sound, it follows the rules already given in connexion with 
 the older trill. The modern shake usually continues during the whole 
 value of the written note and, in contradistinction to the older practice, 
 commences upon the principal sound. At the period of transition 
 between the older and newer methods and before the absolute 
 establishment of the latter, composers sometimes prefixed to the 
 shake-noAe a small note resembling the acciaccatura , in order to 
 ensure the correct performance of the ornament. When this note 
 indicated the same pitch as the principal sound, it signified that the 
 shake was to commence with that sound (i); when it was one degree 
 above the principal sound, it not only indicated the pitch of the 
 auxiliary sound but, also, that the shake was to commence with that 
 sound. (Ex. 30.) 
 
 Mozart. Sonata in F. ist mov. 
 
 Ex. 
 
 30. An exception to the rule that the modern shake should 
 begin upon the principal sound, unless the contrary be expressed by 
 the prefix above-described, may occur when the sound which bears 
 the ornament is immediately preceded by an undetached sound of 
 
 (I) This indication is generally suppressed in modern aditiont. 
 
7 2 Sec. III. The Shake in modern music. (The prefix.) 
 
 the same pitch (Ex. 31). Nevertheless, if the anticipatory sound be 
 staccato or otherwise detached, the rule holds good. (Ex. 32.) 
 
 Mendelssohn. Prelude. Op, 35 No. 4. 
 
 Ex. 
 
 
 tr 
 
 
 
 
 
 
 
 ^-1— — — \ 
 
 
 4 
 
 
 Ex 
 
 Beethoven. Variations. Op. 35 (Van 15). 
 
 31. In the music of the earlier modern writers, the shake often 
 begins upon the auxiliary if it be approached from the sound below. 
 (Ex. 33.) But, in music of a somewhat later date as well as in 
 modern music generally, this requires to be specially indicated. 
 (Ex. 34.) 
 
 Mozart. Sonata in C. ist mo v. 
 
 Ex. 33. 
 
 
 
 
 
 
 
 
 •0.0 
 
 
 
 
 
 
 
 
 
 — 1 
 
 
 3= 
 
 
 Ex. 34. 
 
 Schubert. Sonata in A. 2"^ mov. 
 
 \^fr 
 
 32. The lower prefix described in par. 8 is also common to 
 modern music. It is variously indicated and often in an extremely 
 ambiguous manner. Thus, the methods employed in the following 
 examples all virtually mean the same thing and "therefore lead to the 
 same result. 
 
 Mozart. Sonata in C. 2"^ 
 
Sec. III. The Shake in modern music. (Irregular prefixes.) 73 
 
 III t t 
 
 0 p 
 
 Beethoven. Variations. Op. 35 (Finale). 
 
 tr — r 
 
 Ex. 37. 
 
 Schumann. Geschwindmarsch. Op. 99 No. 14, 
 
 33. Irregular prefixes are often met with, the time-value oi 
 which is almost invariably taken from that of the principal sound of 
 the shake. Of such are the following. 
 
 Beethoven. Sonata. Op. 31 No. i. 2Dd mov. 
 
 1 m rri 
 
 Ex. s8. 
 
 i — 3 — 3. i i i r 
 
 tr 
 
 Beethoven. Rondo. Op. 51 No. 2. 
 
 Schumann. Concertstuck. Op. 92. 
 
74 Sec. III. The Shake in modern music. (The termination.) 
 
 34. The turn at the conclusion of a shake, if not expressly 
 indicated, is usually understood and introduced accordingly. (Ex.41.) 
 
 Weber. Variations in F. 
 
 35. When followed by a sound one degree below the principal 
 sound, the lower auxiliary of the turn takes the pitch of that sound 
 unless, as in Ex. 42, the contrary be specified. 
 
 Beethoven. Sonata. Op. 31 No. 3 
 
 36. A turn is often appended to a shake upon a very short 
 sound. (Ex. 43.) Should, however, the tempo be too rapid to permit 
 of the inclusion of the turn, it is necessarily omitted and the shake 
 is limited to one beat.(i) To this species of shake, we shall presently 
 refer. 
 
 Largo. 
 
 Beethoven, Variations. Op, 35 (Var. 15.) 
 
 r 
 
 Ex. 43. 
 
 37. The closing turn is indicated — (A) by small notes (Ex. 44); 
 (B) by a single small note (Ex. 45) or (C), in exact notation (Ex. 46). 
 
 Schumann. Paganini Caprice. Op. lO No. 2. 
 
 I ^'^0-^=^ 
 
 Ex. 4,. 
 
 4- 
 
 (I) The student must ob'^crve the use made here of the word b(at. It signifies 
 e:ich alternation of the two sounds which form the shake. 
 
Sec. III. Th? Shake 'In modern music. (The termination.) 75 
 
 Ex. 45. 
 
 Mozart. .Sonata in C. mov. 
 
 Ibid. Sonata in 2"d mov. 
 
 
 
 
 (//■ 
 
 
 
 
 • 
 
 
 
 
 
 
 
 
 
 38. When the shake occurs upon a sound followed by a rest, 
 a turn is introduced and so performed, that the final sound of the 
 ornament occurs at the exact expiration of the time -value of the 
 written note. (Ex. 47.) 
 
 Haydn. Sonata in D. 2^<^ mov. 
 
 ^ V } 1 — f — 
 
 39. When a shake is indicated upon a long note tied to a 
 short note, the turn is frequently omitted from the shake, the last 
 sound of the ornament falling in the time -position indicated by the 
 tied note. (Ex. 48.) The same rule obviously affects Ex. 49, and 
 it may be incidentally remarked that the execution of the ornaments 
 would be the same if the notes were not tied. 
 
 Beethoven. Sonata. Op. IIO. i^t mov. 
 
 Ex. 48. 
 
 Beethoven. Variations. Op. 34 (Var. i). 
 
 Ex. 49.^ 
 
 Adagio. ff^ 
 
 f f f 
 
 13 
 
 
 
76 Sec. III. The Shake in modern music. (The termination.) 
 
 40. When, however, the tied note is as long or nearly as long 
 as the first, the shake continues throughout the entire value of both 
 unless the contrary be directly specified. (Ex. 50.) 
 
 Allegro risoluto. 
 
 Beethoven. Sonata. Op. 106 (Fugue). 
 
 Ex. 50 
 
 41. The turn is often omitted from a shake occurring upon 
 a sound of the nature of an appoggiatura, i. e. upon an accented 
 sound followed by an unaccented sound. (Ex. 51.) 
 
 Mozart. Sonata in C. ist mov. 
 
 Ex. 51. 
 
 7 = 
 1/ 
 
 r 
 
 42. No turn is necessary, speaking generally, when a shake 
 is immediately followed by a sound one degree below the principal 
 sound of the shake. Vide Ex. 51. Per contra vide Ex. 50. 
 
 43. In earlier modern music, a composer directed the execu- 
 tion of a shake without the turn as in Ex. 52. 
 
 Mozart. Sonata in B^^. 3rd mov. 
 
 44. When, in a passage containing a succession of shakes, 
 some only are indicated with the turn, it is generally understood 
 that the turn is to be withheld from those shakes in which the in- 
 dication does not appear. Vide Beethoven's Sonata Op. 31 No. i 
 2"d mov. bars 99 — loi. 
 
 45. Similarly, when a movement contains many examples ot 
 the shake, some having an indication of the turn, others without 
 such indication, their execution must be understood accordingly. 
 The Fugue in Beethoven's Sonata Op. 106 is a case in point. 
 
Sec. III. The Shake in modern music. (The termination.) 77 
 
 46. When shakes are added to a series of sounds occupying 
 a subordinate or non-melodic part, the turns are omitted unless ex- 
 pressly indicated. Thus, the chief significance of Ex. 53 lies in the 
 lower part which contains the melodic idea. The introduction of 
 turns into the shakes of the upper part would destroy the sim- 
 plicity of its outline and add an element of unnecessary and disturbing 
 embellishment. 
 
 Beethoven. Variations, Op. 34 (Finale). 
 
 :&c. 
 
 1^ 
 
 r 
 
 47. An irregular termination is sometimes appended to a shake 
 when it usually takes the place of the turn. (Exs. 54 and 55.) 
 
 Ex. 54. 
 
 Beethoven. Sonata Op. 57. i^t mov. 
 
 3 
 
 Ex. 55. 
 
 Schumann. Sonata Op. ii (Finale). 
 
78 Sec. in. The Shake in modern music. (The Passing Shake, &c.) 
 
 48. The shortest type of shake contains but one beat and is 
 generally termed a Passing Shake. (Cf. par. 36.) Of such are 
 Exs. 56 and 57. 
 
 Haydn. Sonata in l»t mov. 
 
 Ex. 57. 
 
 Mozart. Sonata in C. ist mov. 
 
 &c. 
 
 49. When the passing shake occurs upon very short sounds, 
 its execution often necessitates an abbreviation of the time-value of 
 those which follow. (Ex. 58.) (Cf. par. 24.) 
 
 £^ Allegro moderate . 
 
 Mozart. Sonata in C. ist mov. 
 
 ££££££ 
 
 50. Shakes upon sounds indicated by dotted notes offer many 
 varieties of execution. If the dotted note fill a complete beat or a 
 series of complete beats, the shake follows the rules which regulate 
 those upon undotted notes, i. e. it continues during the whole value 
 of the sound and terminates in the usual way. (Ex. 59.) 
 
 Adagio grazioso. Beethoven. Sonata Op. 31 No I. 2nd mov. 
 
 Ex. 59. 
 
 ir 
 
 51. When the dotted note is detached, the passing shake ot 
 three sounds in employed. (Ex. 60.) 
 
 Beethoven. Bagatelle Op, 1 19 No. 5. 
 
 ir ^ 
 
 Ex.60. ^5 
 
 52. When the dotted note is followed by a note of the same 
 value as the dot. a distinction has often to be made between the 
 
Sec. III. The Shake in modern music. (Double Shake, &c.) 79 
 
 practice of the earHer modern writers, e. g. Haydn and Mozart, and 
 that of the writers posterior to and including Beethoven. Thus, 
 such a shake — in the earlier period — would be interpreted, as 
 in Ex. 61 This method of execution is therefore like that of the 
 turn in similar circumstances. (Sec. II. par. 29.) On the other hand, 
 the shake in Ex. 62 requires to be continued until the end of the beat, 
 the sound indicated by the second of the two written notes being 
 incorporated into the termination of the shake and abbreviated in 
 time-value. 
 
 Adazio . Mozart. Sonata in 2nd mo v. 
 
 Ex 61 
 
 -a- 
 
 Allegro vivace. 
 
 Weber. Polacca brillante. 
 
 Ex. 62. 
 
 8va- 
 
 53. When the latter part of the beat is made up by shorter 
 sounds of equivalent value, the execution becomes considerably sim- 
 plified. These subdivisions of the longer sound then form the ter- 
 mination of the shake. Vide Exs. 30 and 54. 
 
 54. A shake may be lengthened indefinitely by the Pause. 
 Except in regard to the abnormal number of its beats, such a shake 
 is entirely regular. (Ex. 63.) 
 
 Hiller. 
 
 Ex. 63. 
 
 55. Double, triple and even quadruple shakes are of frequent 
 occurrence, the one condition of their correct execution being, that 
 each single shake shall be performed as though the other or others 
 were absent. It is almost unnecessary to add that the beats must 
 proceed in consonance throughout the shake. The following is an example. 
 
 Haydn. Sonata in ^b- mov. 
 
 Ex. 64. 
 
 n 1. 
 
 r 
 
 »^ ^ ^ u-;^ 
 
 If W 
 
8o Sec. 111. The Shake in modern music. (The Chain of Shakes.) 
 
 56. A succession of shakes upon sounds ascending or des- 
 cending by conjunct steps is termed a Chain of Shakes. — Fr. chaine 
 de trilles. Ger. Kettentriller. Trillerkette. It. catena di trilli. 
 
 The shakes are connected and form a continuous trill throughout 
 the passage. As a rule, the turn appears in the last shake only. 
 The following method is observed in passing from shake to shake. 
 When the same auxiliary is common to two shakes, the outgoing 
 shake terminates with the auxiliary; when two shakes have distinct 
 auxiliaries, the outgoing shake ends with the principal sound. The 
 reason for this rule will be apparent from an examination of 
 Ex. 65. 
 
 Beethoven. Variations "Tandeln und Scherzen" (Var. 7.) 
 
 57. In a descending chain of shakes, each shake ends with 
 the principal sound. (Ex. 66.) 
 
 Adagio. Beethoven. Rondo Op. 51 No. 2. 
 
Sec. III. The Shake in modern music. (Exceptional forms.) 8* 
 
 58. In Ex. 67, the composer directs the execution of a turn 
 at the end of each shake. The effect of the passage is therefore 
 entirely different from that of Ex. 65. 
 
 Ex. 67. fe^^t^"^ 
 
 Chopin. Impromptu in A]^- Op. 29. 
 
 59. Exceptional circumstances or local conditions occasionally 
 insist upon the execution of a shake in a manner not amenable to 
 strict rule. Thus, the occurrence of accompanying sounds (played 
 by the same hand as the shake) often necessitates a slight modification 
 of the ornament. Ex. 68, for instance^ is generally performed in the 
 
 Allegro, 
 
 tr — 
 
 Ex. 68. 
 
 Beethoven. Sonata Op. 106 (Fugue). 
 
 manner set forth. Again, the shake given in Ex. 69 is usually ab- 
 breviated and the turn omitted in order to avoid a discordant clash 
 with the final sounds of the lower part; as well as to give a more 
 distinct outline to the following chord which commences the most 
 important rhythm of the movement. 
 
 Ex. 69. 
 
 Beethoven. Sonata Op. no. ist mov. 
 
 fy.^^ 
 
 60. When a melody and continuous shake are required to be 
 played by the same hand, the shake ceases immediately before each 
 sound of the melody and is resumed immediately after. In such 
 
 Ernest Fowles. Studies in Musical Graces. 0 
 
C7/. Sec. III. The Shake in modern music. (False Shakes.) 
 
 f:ases, the continuity of the shake is illusory and the term False 
 Shake is often appHed to the device. Other forms of the so-called 
 false shake exist, but it is unnecessary to particularize them here. 
 An example is subjoined. 
 
 Beethoven. Sonata Op. 109. 3rd mov. 
 
 61. Lastly, the student should give particular attention to the 
 time-division of the sounds which form a shake. A careful examina- 
 tion of the examples given in this Section v^^ill have shown him, 
 that, the beats of a shake should be sufficiently numerous to give 
 the necessary brilliance to the ornament. That they should be 
 regular is inherent in the nature of the divisions of time of which 
 they form a part. It is often necessary to break the uniformity in 
 order to obtain an effective termination, but the result is generally 
 to invest the ornament with additional grace. The number of sounds 
 in a long shake must necessarily depend upon the skill of the per- 
 former, but ordinarily it may be understood, that, the effect of the 
 ornament is in direct ratio to the frequency of its beats. 
 
 62. The practice of the shake is in the highest degree beneficial 
 to the practical student; its complete command is often synonymous 
 with high technical attainment. 
 
 Questions and Exercises on Section III. 
 
 1. Contrast — in reference to musical effect and significance — the 
 turn and the shake. 
 
 2. Name the broad difference between the older and the modern 
 §hake, 
 
Section III. 
 
 83 
 
 Can you give a reason why the difference, alluded to in the 
 previous question, exists? 
 
 When it is desired that a shake should assume a chromatic 
 form, how does the composer indicate the fact? Illustrate your 
 reply by indicating a chromatic shake upon the dominant of 
 
 D\> maj. . . 
 
 . Enumerate — from memory — the various occasions when it 
 is necessary to begin the older shake upon the principal sound. 
 Upon which sound would you start the following shake? The 
 ornament is to be understood as belonging to the period 
 anterior to Mozart. Give the reason for your reply. 
 
 8. 
 
 I. 
 
 2. 
 
 Why should a shake upon a starting-sound always commence 
 with the principal sound? 
 
 Define — in reference to the shake — the term ^'preliminary 
 sounds'*. 
 
 9. Differentiate the two species of preliminary sounds prefixed to 
 the older shake. Write the respective symbols, in each case 
 over a minim, and indicate the first six sounds of each shake 
 by notes of appropriate value. 
 . In what manner may the prefix to a shake be compared to the 
 turn? Refer, in your reply, to both types of prefix. 
 What is the most usual form of termination applied to the 
 older type of shake? 
 
 When it is required that the termination of the older shake 
 should be embellished, what indication is employed? Illustrate 
 your reply by writing, in full, a shake upon a minim, the or- 
 nament to begin in the normal manner and to end with the 
 termination just alluded to. Add the original symbol. 
 
 3. We have seen that a formal termination is more generally 
 employed in modern than in older music. Give an instance in 
 which it may, however, be introduced into the older shake. 
 
 4. In older music^ the termination of a shake is occasionally indi- 
 cated in exact notation. Write an example. 
 
 5. Name two points of similarity between the embellished prefix 
 and the termination of the older type of shake. 
 
 6. What is the general execution, in older music, of a jhake the 
 principal sound of which is indicated by a dotted note? In 
 your reply, refer particularly to the differences induced by the 
 context immediately following. 
 
84 
 
 Section III. 
 
 In what respect may the execution of the shake upon a sound 
 indicated by a dotted note be compared to that of the turn in 
 a similar position? 
 
 What have you to observe with regard to the time- value of the 
 dot in the music of Bach? 
 
 What difference of opinion occasionally exists with regard to 
 the execution of a cadential shake upon a sound indicated by a 
 dotted note? 
 
 What is the normal execution in older music of a shake upon 
 a terminating sound or upon a sound followed by a rest? 
 Describe the practice usually followed when a cadential shake 
 is preceded by a sound of the same pitch as the auxiliary 
 sound of the shake. What is the outcome of the practice? 
 The following indication appears in the original editions of 
 some eighteenth century music. What does it signify? 
 
 23. How may the following shake be interpreted? The ornament 
 must be understood as belonging to the period of Mozart. 
 
 24. Are the prefixes employed in the older shake also common to 
 the modern shake? If so, show wherein the respective methods 
 of indication differ. 
 
 25. Differentiate, in respect to musical significance, the employment 
 of the embellished termination in the older shake from its 
 occurrence and use in the modern shake. 
 
 26. Give three ways in which the indication of the turn affixed to 
 a shake appears in modern music. Illustrate each method by 
 indicating a diatonic shake upon the dominant of B maj. 
 
 27. What is the pitch of the auxiliary sound of a shake upon the 
 sub-mediant of the minor scale? Give the reason for your 
 reply. 
 
 28. Detail the occasions when no turn is affixed to a modern shake. 
 
 29. Define a passing shake. 
 
J5ectlon 111. 
 
 30. Name the licence which must inevitably accompany the execu- 
 tion of the following shakes. 
 
 31. What difference frequently requires to be observed between a 
 shake indicated upon a dotted note in older and in modern 
 music respectively? 
 
 32. Give the rule which regulates the correct succession and execu- 
 tion of the following shakes. Which shake requires particular 
 treatment? What is the term applied to such a passage? 
 
 
 
 
 
 0 
 
 
 
 
 
 
 
 
 33. What is a false shake? How is the term justified? 
 
 34. Give, in exact notation, the rendering of the following shakes 
 from Bach. (N. B. In these and the following exercises, the 
 student must be prepared, by practical exemplification at the 
 Pianoforte, to illustrate the rules which govern the various 
 given forms of the shake.) 
 
 A. Allegro. B. AitdanU. 
 
86 
 
 »j)ection in. 
 
 F. Allegro. 
 
 cwvo 
 
 G. Allegro. 
 
 r rr 
 
 I. Moderate. 
 
 fee 
 
 r 
 
 J. Andante, 
 
 ^4 
 
 r 
 
 K. Andante. 
 
 L. Andante. 
 
 Ovvv 
 
 J J. i 
 
 r 
 
Section III. 
 
 87 
 
 M. Andante, 
 
 N. Allegro moderato. 
 
 rwv 
 
 F3 
 
 O. Maestoso. 
 
 p. Alllgro. 
 \ Sl 
 
 r f 
 
 R. Zm/u. 
 
 I 
 
 S. Allegro. 
 
 AVV 
 
 AW 
 
 T. Moderato. 
 
 U. Allegro. 
 
 
 AW 
 
 3 L.I i"^*^^ 1-^'^^ 
 
 
 
 
88 
 
 Section III. 
 
 35. Proceed in the same manner with the following shakes from 
 the works of Handel. 
 
 A. Adagio, 
 
 B. Adagio 
 
 C. Allegretto. 
 
 r 
 
 
 
 
 
 
 
 
 
 
 ^ 1 ^ 
 
 - 
 
 
 
 
 7— ' 
 
 jet 
 
 1r 
 
 I 
 
 E. Sarabande. 
 
 ir 
 
 -3 ^ 
 
 -2 6?- 
 
 J 1 
 
 -1^ 
 
 1^ — . — 
 
 f f f • 
 
 (9- 
 
 if 
 
 f rif r 
 
 r 
 
 36. Indicate, in exact notation, the execution of the following shakes 
 from Haydn. 
 
 A. Tempo di tnenuetto. 
 
 B. Tempo di tnenuetto. 
 
 tr 
 
SectioA III. 
 
 D. Allegro vioderato. 
 
 C. Tempo di menuetto 
 
 tr 
 
 89 
 
 E. Larghetto. 
 
 if ^_ 
 
 F. Allegro. 
 
 tr 
 
 tr 
 
 G. Tempo di menuetto. 
 
 tr^ tr^ 
 
 H. Allegro assai. 
 
90 
 
 Section HI. 
 
 K. Adagio. 
 
 tr ^ — 
 
 f ^ f 
 
 r 
 
 L. Andante. 
 
 tr tr 
 
 tr 
 
 tr*: 
 
 ^ ^ kF w'^tfi/ 
 
 m 
 
 t) 
 
 |-a - 
 
 37. Proceed as before with the following ornaments from Mozart. 
 
 A. Allegro. 
 
 tr_ tr tc-D 
 
 - FFfi n^ ™ 
 
 ^ — 
 
 f 
 
 B. Allegro assai. 
 
 4 — ^ 
 
 C. A.lngio. 
 
 1r 
 
 ■61 J '- 
 
 f 
 
 D. Allegro. 
 
 tr 
 
 r I ' 
 
Section 111. 
 
 F. Andante. 
 
92 
 
 J. Allfgro. 
 
 tr 
 
 Section III. 
 
 38. Proceed as before with the following ornaments from Beethoven. 
 
 A. Allegro. 
 
 
 1^ 
 
 
 
 1ft 
 
 B. Largo. 
 
 C. Allegro con brio. 
 
 tr 
 
 tr 
 
 D. Allegro assai. 
 
 tr 
 
 I i 
 
 m 
 
 ,U J. J. J. J. ij. i J. #i J. ,4 
 
 E. /'<?r<? Allegretto. 
 
 tr 
 
Sec. IV. The Mordent. (The two forms.) 
 
 93 
 
 '/. Adagio, 
 
 tr 
 
 ,™ tr *r ^ I 
 
 8va bassa'"""^^'' 
 G. Tempo di Menuetto. 
 
 fr tr tr — ^ 
 
 H. Allegro assai. 
 
 77' 
 
 7!7' 
 
 SECTION IV. 
 
 The Upper and Lower Mordent^ 
 the Double Mordent and the Slide. 
 
 I. The Mordent (from mordeo [Lat.] = I bite, I sting) has two 
 forms each of which consists of three sounds. One form is indi- 
 cated by the symbol ^ and contains the following succession of 
 sounds, all of which are executed within the time-value of the 
 written note — (A) the principal sound, (B) an auxiliary sound one 
 degree above and (C) the repetition of the principal sound. (Ex. 
 I. A.) This form is common to instrumental music of every type. 
 The alternative form is indicated by the same symbol, but clear 
 distinction is effected by a vertical stroke which passes exactly 
 through the centre ^tv. The execution of this form of the mordent 
 is similar to that of the other, save only in the important difference, 
 that the auxiliary sound is one degree below the principal sound. 
 (Ex. I. B.) This form is rarely met with in music after the time of 
 the writers who immediately succeeded Bach. Either form is played 
 with the utmost rapidity and the characteristic emphasis resulting 
 
94 
 
 Sec. IV. The Mordent. (Terminology.) 
 
 from this particular mode of performance affords a key to the deri- 
 vation of the name of the ornament. 
 
 2. In England, the term mordent is applied to both forms of 
 the ornament and this has led to a slight confusion of nomenclature. 
 Some writers apply the term only to that form in which the upper 
 auxiliary is employed and describe the alternative form as the 
 Inverted Mordent. Others differentiate the forms by calling them, 
 respectively, the Upper Mordent and Lower Mordent. The latter 
 terminology is adopted here. 
 
 3. The Germans use the term Mordent to describe the lower 
 mordent alone. To the upper mordent, they give the name — 
 Pralltriller. This nomenclature has not only the advantage of 
 distinctiveness but, historically, is more accurate. The upper mor- 
 dent, i. e. the Pralltriller, originated in the shake and is thereby 
 strongly differentiated from the lower mordent or Mordent proper 
 which, derived from the older form of the acciaccatura (Sec. I. par. 22), 
 stands alone and distinct from all other ornaments of the kind. 
 
 4. The French, also, are more consistent in the nomenclature 
 they apply to the mordent. Although they use the word mordant 
 as a general term, they call the lower mordent — pince and, to the 
 upper mordent or German Pralltriller, they apply the term — pince 
 renverse. This, it will be observed, is the exact converse of the 
 practice general in England. 
 
 5. The terminology of the Italians in this matter is extremely 
 vague. The word mordente is used as a general term to describe 
 all ornaments consisting of three sounds which are played with the 
 emphasis and rapidity of the mordent. 
 
 6. The pitch of the auxiliary sound requires consideration. 
 The pitch of the auxiliary of the upper mordent is always that of 
 the diatonic scale degree next above the principal sound. That of 
 the auxiliary of the lower mordent should, strictly speaking, be also 
 diatonic. It is, however, a frequent practice of modern performers 
 and editors to raise the auxiliary by a chromatic semitone in those 
 cases where the diatonic sound is a tone removed from the prin- 
 cipal sound. With this practice in operation, the lower mordent is 
 made uniform in type and is thereby strongly contrasted with the 
 variable upper mordent. Since it is in the works of Bach that the 
 modern student most frequently encounters the lower mordent, it 
 were perhaps better that the original pitch of the auxiliary — as 
 most clearly defined by the master in the numerous examples in 
 his music written in exact notation — should be observed. Never- 
 
 A. 
 
 B. 
 
Sec. IV. The Mordent. (Pitch-formation.) 
 
 95 
 
 theless, it will be of service to the student if we enumerate the 
 few occasions when the auxiliary of the lower mordent ought, in 
 any case, to be a tone from the principal sound. 
 
 7. When the lower mordent is followed immediately by a 
 sound one whole tone below the principal sound, the auxiliary must 
 take the pitch of that sound. (Ex. 2.) 
 
 Allegro. Handel. Suite No. I (Courante). 
 
 Ex. 2. 
 
 8. An exception to the above rule occurs when the principal 
 sound is the tonic of the minor scale and the following sound, the 
 minor 7 th of that scale. (Ex. 3.) 
 
 Andante. Handel. Suite No, VII. 2"^ mov. 
 
 9. The auxiliary of a lower mordent upon the major 7 th of 
 the minor scale invariably takes the pitch of the major 6 th. (Ex. 4.) 
 
 Andantino . 
 
 Bach. French Suite i^o. II (Sarabande). 
 
 Q I 2!l . -3 
 
 10. The lower mordent upon the 3i*d degree of the major 
 scale takes the 2"d degree as its auxiliary. (Ex. 5.) 
 
 Bach. French Suite No. V (Sarabande). 
 
 Ex. 5. 
 
 II. If the tone below the principal sound has occurred in the 
 same part immediately before (Ex. 6), it is a sufficient indication of 
 the pitch of the auxiliary sound (A). (B) would be intolerable. 
 
 Bach. French Suite No. IV (Sarabande). 
 
 Ex. 6. 
 
 
 
 
 
 ^-4, — 
 
 
 (I) This rendering, however, is essentially modern. The minor of the 
 minor key was originally admitted in all such cases. 
 
96 Sec. IV. The Mordent. Characteristic feature of — 
 
 12. As in the case of the ornaments previously considered, 
 chromatic inflections are indicated by accidentals placed as required 
 above or below the symbol. (Exs. 7 and 8.) 
 
 Bach. French Suite No. Ill (AUemande). 
 
 Ex. 7. 
 
 3 
 
 Beethoven. Sonata Op. 13. ist moY. 
 
 13. The suddenness of attack which characterizes the execution 
 of the mordent renders it not unHke the ^'crushing" appoggiatura or 
 acciaccatura. But — beyond the obvious fact that the mordent contains 
 an additional sound — there is a difference between these ornaments 
 which it is of importance to observe. The accent falls upon the last 
 sound of the acciaccatura; in the mordent, it very frequently falls 
 upon the Ji7^st. When employed in a position of climax; when it 
 occurs upon one sound of a comparatively rapid passage; when, in 
 brief, the introduction of the grace is associated with a necessity for 
 decisive accentuation and rendering — then must it bear the rigid 
 interpretation just referred to. With the earlier writers, this orna- 
 ment did not necessarily possess the strident • character which it 
 ultimately obtained. Bach, for instance, often wrote it in full and as 
 a comparatively leisurely grace, with the accent upon the concluding 
 sound (Ex. 9) and there are numerous examples in his works which, 
 though indicated by the sign, appear to call for a less forceful 
 rendering and for the placing of the accent in a similar position, 
 hi this connexion, we must remember, that, it is the attempt to place 
 the accent upon the first sound which is largely responsible for the 
 "biting" or ''stinging" effect peculiar to the mordent as it is most 
 often played. 
 
 Two-part Invention. No. 6. 
 
Sec. IV. The Mordent. Difficulties in the execution of — 97 
 
 14. The execution of the mordent is often far from easy owing 
 to the fact, that, strictly speaking, it should not fill the entire time- 
 value of the sound upon which it occurs. An interval, however 
 slight; should always remain after the completion of the ornament. 
 As a rule, this mode of execution is perfectly feasible. (Ex. 10.) 
 
 Allegro. Haydn. Sonata in E^- (Finale.) 
 
 15. Occasionally; however, the tempo of a passage containing 
 examples of the mordent is too rapid to permit of the execution 
 outlined in par. 14. Thus, the rendering of Ex. 11, given in (A), 
 is practically impossible at the speed; that suggested in (B) doubt- 
 less indicates the original intention of the composer. 
 
 16. An exception to the sudden attack — exactly upon the 
 time-position indicated by the written note — occurs in older music, 
 when the upper mordent is connected by a curved line (the modern 
 slur) to the previous note. The mordent is then delayed until 
 immediately after the time-position of the principal sound; its charac- 
 teristic effect then becoming considerably modified. (Ex. 12.) 
 
 Bach. Partita No. II. 
 
 (Allemande). 
 
 Ex. 12 
 
 m 
 
 Ernest Fowles. Studiei in Musical Graces. 
 
98 
 
 Sec. IV. The Double Mordent. 
 
 17. On the other hand, the time-position of the mordent in 
 the following passage from, music oa a later period is uninfluenced 
 by the slur. 
 
 Allegro moderato. 
 
 Ex. 1 
 
 3-^ 
 
 Haydn. Sonata in E\f- ist mov. 
 
 18. The mordent is sometimes applied to one sound of a 
 chord, when ornament and chord are each played as though the 
 other were absent. (Ex. 14.) 
 
 Bach. Little Prelude. No. XI. 
 
 Ex. 14. 
 
 19. In modern music, the mordent is frequently indicated by 
 small untimed notes. (Ex. 15.) 
 
 Moderato. 
 
 Schubert. Sonata in ^ min. Op. 42. ist mov. 
 
 Ex. 15 
 
 20. The mordent must not be confused with the passing shake 
 of three sounds. (Sec. III. par. 48.) The three sounds of the mor- 
 dent are played with the greatest possible rapidity and their execution 
 should not occupy the entire value of the principal sound; those of 
 the passing shake do not require the percussive force of the mordent 
 and, moreover, occupy the whole time-value of the principal sound. 
 
 21. An extended form of the lower mordent is met with in 
 the works of Bach and his contemporaries. It is called the Long or 
 Double Mordent (Fr. pince double. Ger. langer Mordent or Doppel- 
 Mordent.) and is indicated by the sign ^ or aW. This sign must 
 be carefully distinguished from the almost similar symbol formerly 
 employed to indicate the shake with formal termination. (Sec. Ill 
 par. 12.) As impHed by the term, the double mordent contains 
 2 beats (vide Footnote to Sec. III. par. 36) against the single beat 
 of the simple mordent. It is necessarily peculiar to longer sounds 
 
Sec. IV. The Sliae. 
 
 99 
 
 but, except in length, does not differ from the latter either in per- 
 cussive force or in musical significance. The following are examples. 
 
 Handel. Suite No. 
 
 (Courante.) 
 
 Ex. 1 6. 
 
 ^^^^ 
 
 Adagio, 
 
 Ex. ,7, g: 
 
 4=£ 
 
 Bach. Toccata in ^ min. 
 
 22. Another ornament — very similar in character to the mor- 
 dent — may be conveniently considered here. It is known in Eng- 
 land by the little-used term — S/ic/e (Fr. coule. Ger. Schleifer. It. 
 vide par. 5) and, in its simplest phase, consists of three sounds 
 ascending or descending in the same direction and by conjunct 
 steps. These are played with great rapidity after the fashion of the 
 mordent and the time of their execution is also taken ffom that of 
 the principal, in this case the final, sound. In Ex. 18, the orna- 
 ment is written out in full. 
 
 Ex. 18. 
 
 Gavotte. 
 
 Bach. French Suite. No. VI. 
 
 23. The more measured execution of the slides in Ex. 18 is 
 not characteristic of the ornament which, as we have already ob- 
 served, is usually played with a mordent-like rapidity. It is a 
 necessary result of exact notation, that the composer is able thereby 
 to indicate a particular or exceptional performance of a grace. When 
 such indication is absent, the corollary follows, that, the customary 
 execution is to be observed. The rendering given of Ex. 19 is an 
 approximation of the effect intended by the true slide. 
 
 Menuet. Bach. French Suite. No. III. 2nd Minuet 
 
 ^ ^J= ^^jr^-4f^ = ^^^^^ 
 
 -^ \v r"=^r r r 
 
 24. The symbol employed in Ex. 19 is not met with in music 
 later than that of the writers who immediately succeeded Bach. In 
 still older music, a diagonal stroke, leading from note to note and 
 
 7* 
 
 Ex. 19. 
 
lOO 
 
 Sec. IV. The extended Slide. 
 
 in the direction of the actual movement; was employed for the same 
 purpose. (Ex. 20.) 
 
 Kx. 20. 
 
 25. In modern music, the slide ; if not expressed in exact 
 notation, is indicated by small untimed notes. (Ex. 21.) 
 
 Beethoven. Sonata Op. 13. 3^*1 mov. 
 
 Ex. 21. 
 
 — — 
 
 
 
 
 9 
 
 
 
 
 
 
 
 26. Not infrequently, the slide appears in extended form, com- 
 prising 4, 5 or more sounds. The term Tii'ata {tirare [It.] = to draw 
 out) is sometimes and incorrectly applied to such. The true tirata 
 was a scale passage which connected two sounds of a melody and 
 absorbed the entire time-value between. The extended slide, on the 
 contrary, takes as little time as possible in execution and, like the 
 simple slide, leaves some time over for the final measured pause 
 upon the principal sound. (Ex. 22.) 
 
 Haydn. 
 
 Sonata in Cjjmin. 
 
 ist mov. 
 
Section LV. 
 
 lOI 
 
 Questions and Exercises on Section IV. 
 
 1. Why is the mordent so-called? 
 
 2. Which type of mordent is derived from the shake? 
 
 3. Describe both types of the mordent. 
 
 4. Give the German terminology applied to the mordents and show 
 v^herein it is more rational than our own. 
 
 5. Express the following in exact notation. 
 
 B. Moderato. C. Lento. 
 
 A. Allegro. 
 
 9t 
 
 10 
 
 6. Compare the terminology applied to the mordent by the French 
 with that current in England and in Germany. 
 
 7. In what respect does the pitch-formation of the upper mordent 
 often differ from that of the lower mordent? 
 
 8. In what manner does modern practice sometimes modify the 
 pitch-formation of the lower mordent? 
 
 9. What is the cause of the practice referred to in the previous 
 question? 
 
 Mention some occasions when the interval of a tone ought in 
 any case to be preserved between the principal and auxiliary 
 sounds of the lower mordent. 
 II. The mordent is occasionally observed in the music of Bach and 
 of kindred writers as a comparatively slow grace. How was 
 it then indicated? 
 
 How is the upper mordent differentiated from the passing shake 
 of three sounds? 
 
 When is the mordent — in respect to its time-grouping — 
 exactly similar to the passing shake of three sounds? 
 Express the following in exact notation. The execution of the 
 mordents must be given in two ways. Firstly, as though the 
 passage belonged to the period of Bach; secondly, in modern 
 form. 
 
 12 
 
 13 
 
 
 
 
 
 5 
 
 
 15. In what respect does the indication in modern music of the 
 upper mordent often differ from that in older music? 
 
I02 
 
 Section IV. 
 
 1 6. Why is the double mordent Hmited to the lower form? 
 
 17. Wherein is the slide similar to the mordent? 
 
 18. Express the following in exact notation. The passage must be 
 understood to belong to the time of Bach. 
 
 1 
 
 1 — ^ 
 
 
 • 
 
 gl_4_4 
 
 
 •n 
 
 
 -=t=: 
 
 19. Rewrite the above passage, substituting the customary symbols 
 for the older indications. 
 
 20. Express the following in exact notation. (N. B. The student 
 must be prepared, as heretofore; to execute each passage on 
 the Pianoforte.) 
 
 A. AlUgretto. 
 
 Handel. 
 
 \. Allegro. 
 
 [bid. 
 
 r 
 
 C. Adagio. 
 
 Ibid. 
 
 D. Allegro. 
 
 Bach. 
 
 E. Allegro. 
 
 bid. 
 
 F. Andante. 
 
 Ibid 
 
 r f 
 
 G. Allegro. 
 
 Ibid. 
 
 H. Adagio. 
 
 Ibid. 
 
 ^ f- 
 
 f 
 
 I. Allegro. 
 
 Haydn. 
 
 J. Allegro. 
 
 Ibid. 
 
K. Allegro. 
 
 Section IV. 
 
 Ibid. L. AlUgro. 
 
 103 
 
 Ibid. 
 
 M. Allegro. 
 
 Mozart. 
 
 -4 m • 
 
 — 8- 
 
 N. Allegro. 
 
 I 1 
 
 O. Grazioso. 
 
 Beethoven. 
 
 g » i ,^^^- ^-9^9 9—9 9 #— ^— 
 
 p. Allegretto. 
 
 Ibid. 
 
 21. 
 
 Express the following in exact notation. 
 
 A. Andante. Handel. 
 
 Bach. 
 
 B. Andante. r**^^ 
 
 ^-i^^S- 
 
 7 R 
 
I04 
 
 C. Andante 
 
 Section IV. 
 
 Ibid. D. Allegro. 
 
 Ibid. 
 
 E. Allegretto. 
 
 Ibid. 
 
 F. Lar ghetto. . Haydn. 
 
 G. Moderato. 
 
 Ibid. 
 
 H. 
 
 Mozart. 
 
 Mm 
 
 Presto. 
 
 Ibid. 
 
 J. Andante. 
 
 -yr— ;4J— ^ 
 
 Ibid. 
 
 r 
 
Sec. V. The Nachschlag. 105 
 
 SECTION V 
 
 The Nachschlag, &lc. 
 
 1. The Nachschlag differs from all other graces in that it 
 occurs at the close of its principal sound. Hence its name; i. e. 
 afte7'-beaU No better description of the ornament than a simple 
 translation of the German term — after-beat or after- sound — having 
 been devised, the word Nachschlag is almost invariably used in 
 England. 
 
 2. The nature of the Nachschlag can most clearly be illustrated 
 by an example in which the ornament appears in exact notation. 
 Thus, the demisemiquavers in Ex. i (A) are Nachschlage. Although 
 they lead in each case to the following sound, they proceed essen- 
 tially from the previous sound and are, therefore, in the strictest 
 sense, ^//^r- sounds. This will be more apparent if they are ex- 
 pressed as short appoggiature to the following sounds (B). They 
 are now decorative in respect to these latter sounds and, in no case, 
 bear reference to the previous sound. 
 
 Haydn. Sonata in A. ist mov. 
 
io6 
 
 Sec. V. The Nachschlagf in older music. 
 
 3. it is evident; that; decorative sounds of the kind illu.^trated 
 by Ex. I (A) must have occurred in music from the first introduc- 
 tion of the flor'd element into the art. Nevertheless; the Nach- 
 schlag was not originally regarded as worthy of a place in the 
 repertory of standard embellishments. Up to the time of Bach; it 
 was tolerated as a species of ''passing appoggiatura" and it is not 
 difficult to perceive the reason. The ornament itself provided no 
 base for the operation of accent. HencC; the element which played 
 so important a part in the other graces and; in fact; was often the 
 actual reason of their employment, appeared only with the following 
 sound. It naturally follows, that, Bach's use of the Nachschlag — 
 as an indicated grace — is not extensive. It is, however; found occa- 
 sionally as such in his works, from one of which Ex. 2 is quoted. 
 
 Bach. Aria variata in A min. 
 
 Ex. 2 
 
 4. The following passage from Handel (Suite in G min. 2"^ 
 mov.) contains a Nachschlag contrasted with an appoggiatura. The 
 exact function of the former could not be more clearly demon- 
 strated. 
 
 Ex. 3. 
 
 5. In old music, the Nachschlag was indicated by the sign A 
 or V signifying respectively the sound above or below the principal 
 sound. (Ex. 4. A.) Occasionally, by a small note, the hook or hooks 
 of which were turned towards the principal note. (B.) Lastly, by 
 a short curve in the direction of the ornament itself (C ) 
 A. 
 
 Ex. 4. 
 
Sec. V. The Nachschlag- in modern music. 
 
 107 
 
 Adagio. 
 
 Bach. Choral for Organ. "AUein Gott". 
 
 -^tH h-i^ h 
 
 6. The Nachschlag plays an important part in modern music. 
 As in older music, the ornament; in the vast majority of cases, is 
 written in exact notation. Some composers, however, adopt the prac- 
 tice of indicating the grace by a short untimed note and thereby 
 secure for it a slight degree of executive latitude. Very frequently, 
 indeed, its indefinite time-position enables the performer to invest 
 the ornament with a freedom and charm almost unattainable when 
 it is represented in strict time-value. Ex. 5 is an instance. 
 
 Schumann. Albumblatter Op. 99 No. 4. 
 
 Ex. 5. 
 (0 
 
 7. A distinction is made by some editors between Nachschlage 
 which are required to be played rapidly and those in which the 
 latitude described in par. 6 is the main desideratum. The latter are 
 then indicated as in Ex. 5, i. e. by a small note without the cross- 
 stroke; the former, as in Ex. 6, i. e. by a small note with the cross- 
 stroke. 
 
 Lmio. Schumann. "Warum?" Op. 12 No. 3. 
 
 Ex 6. 
 
 I 
 
 8. The similarity between the method of expressing the Nach- 
 schlag and that of indicating the appoggiatura and acciaccatura some- 
 times leads to misunderstanding. This is of course prevented when 
 the grace note occurs before a bar-line (Ex. 6). When a bar-line 
 
 (I) It will be observed that the Nachschlag appears here in the form of an 
 anticipation. (Cf. Glossary Art. Anticipation.) This fact differentiates the grace from 
 the Nachschlag in Ex. 2. Nevertheless, such an anticipation should be distinguished 
 from that introduced for the sole purpose of reinforcing an accented sound or chord. 
 (Cf. the initial chords of the Vivace alia Marcia of Beethoven's Sonata in E. Op. loi). 
 A sound may be so anticipated, that, the effect of the anticipation is wholly subject- 
 ive, no reinforcement of accentual effect being in evidence. Such is the case in 
 Ex. 5, the anticipating sound virtually proceeding from the previous melodic sound 
 and therefore yielding the effect of a true "after-sound". 
 
io8 
 
 Sect. V. The Nachschlag- in modern music. 
 
 is unavailable; the only certain method of preventing confusion is 
 by employing a curved line to connect the Nachschlag to its principal 
 sound, h is to be regretted, that, though the device is at least as 
 old as Bach, it has not been universally adopted by modern editors. 
 It is seldom, however, that real difficulty is experienced in differen- 
 tiating the Nachschlag from its antitheses the appoggiatura and 
 acciaccatura. The nature of the passage, the melodic and rhyth- 
 mic outline, to mention no other indications, are generally sure 
 guides. Thus, in Ex. 7, the anticipatory character of the ornament 
 is in this particular case — having regard to the tempo and style of 
 the movement — sufficiently suggestive. (Cf. Footnote, pag. 107.) 
 In Ex. 8, the ornament at sf: may be compared with others of a similar 
 kind in the same work and its execution as a Nachschlag clearly 
 deduced. 
 
 Lento. Chopin. Nocturne, Op. 32 No. 2. 
 
 J J 
 
 Ex. 7. 
 
 1 
 
 Lento. 
 
 Schumann. "Warum?" 
 
 
 1 
 
 
 
 
 
 Mr— r-^ 
 
 
 
 
 
 
 9. The anticipatory bass-sounds so often used in modern 
 Pianoforte music must not be confused with the Nachschlag. Those 
 in Ex. 9, for instance, are introduced for harmonic purposes alone 
 and, being continued in sound by the use of the pedal, serve but 
 to reinforce the primary harmony of the bar. 
 
 Prestissimo. Schumann. Carnaval. 
 
 Ex. 9. 
 
 ID. The term Nachschlag is also used in Germany to denote 
 the use of the lower auxiliary sound at the conclusion of a shake. 
 It is contended, that, the concluding sounds of the shake do not 
 form a turn in the strict sense of the word, since two of them 
 coincide with the final beat of the shake. The new auxiliary taken 
 
Sec. V. The Fioritura. 
 
 109 
 
 before the final sound is, therefore, the only sound for which a 
 special nomenclature is considered to be necessary and it is to this 
 sound that the term Nachschlag is given. The two nomenclatures are 
 given in Ex. 10. 
 
 Triller. Nachschlag. German terms. 
 
 Shake. Turn. English terms. 
 
 II. The Nachschlag sometimes occurs in double form. (Ex. 11.) 
 
 Chopin. Nocturne Op. 72 No I. 
 
 Ex. II. 
 
 I: 
 
 a 
 
 
 
 
 1 
 
 
 
 
 12. The principle of the Nachschlas^ is often extended to 
 groups of sounds of indefinite number. The following fioriture(i) 
 from Chopin are of this kind. 
 
 Approximate execution. 
 
 Larghetto. Nocturne Op. 15 No. 2. 
 
 Ex. 12. 
 
 
 1 
 
 
 
 
 
 Nocturne Op. 32 No. 2. 
 
 Lento, 
 
 Ex. 13. ^ 
 
 ^^4 
 
 Approximate execution. 
 
 13. Closely allied to the passages just quoted, is the free 
 fioritura which connects two main sounds of a melody. Ornaments 
 of this kind are represented in small notes outside the normal lime- 
 
 (I) Plural of fioritura (It.) = a flowering (lit.), used to describe a melodic pro- 
 gression of florid character. 
 
no 
 
 Sec. V. The Cadonza and tho Bdiiincr. 
 
 measuren^.cnt ; or, in small notes which, for the time being, displ?irf. 
 
 the normal time-measurement (Ex. 14 
 
 or. 1 
 
 n exact notation. (Ex. 
 
 5J 
 
 (n all such cases, their execution demands grace and freedom 
 coiubiiicd with an accurate sense of rhythmic proportion. 
 
 Chopin. Nocturne Op. 37 ^'o. I. 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 1 
 
 • 
 
 
 * 
 
 
 
 
 
 
 
 — • 
 
 
 
 
 
 
 
 "5" 
 
 r 
 
 Chopin. Nocturne Op. 9 No. I. 
 
 Ex. iv 
 
 J 
 
 
 
 
 
 -1 
 
 
 •-7. 
 
 6- — ^ i — — 
 
 fef ^ 7 4 — 
 
 
 
 
 
 
 
 
 
 
 0 
 
 J 
 
 
 
 
 2 ^ 
 
 
 
 
 
 0— 
 
 
 
 
 til 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I*" 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 14, A fioritura sometimes occurs after a pause when it is 
 technically known by its Italian mime — Cadenza. The cadenza often 
 possesses great harmonic as well as decorative significance. Such 
 is the cadenza pertaining to the Concerto. It is as frequently limited 
 to a single fioritura of short dimensions. Such is the cadenza in 
 Ex. 16. 
 
 Beethoven. Sonata Op. 31 No. I. l^^ mov. 
 
 
 
 (/ 
 
 . 0 
 
 • ' • ' ' 
 
 » - # 
 
 
 S5S 
 
 <>' 
 
 ■ r 
 
 
 . 0 ' 
 
 
 
 15. The resuscitation of the old grace known as the Bebung 
 (Ger.), though sufficiently rare, is a marked feature in those cases 
 where it appears in modern Pianoforte music. The original Bebung 
 consisted of a slight but intermittent pressure applied to the key of 
 
See. V. The Broken Chord. 
 
 the clavichord, whereby the string remained in a condition of faint 
 vibration. A somewhat analogous effect is obtained upon the Piano- 
 forte by the delicate and legato repercussion of the key. Such, for 
 example, is the method of execution required for Ex. 17. 
 
 Beethoven. Sonata Op. I lO. 3'''^ niov. 
 
 1 6. The broken chord should, strictly speaking, be classed 
 with musical embellishments. But the arpeggio, with its natural 
 concomitant the chord played arpeggiando, forms so prominent a 
 feature in modern music that, from being an exceptional form of 
 decoration, it has passed into a necessity of musical presentation. 
 Nevertheless, many instances occur in which a broken chord forms 
 an essential part of melodic decorativeness and, in such cases, its 
 claim to be considered as a regular embellishment is entirely 
 logical. (Ex. 1 8.) 
 
 Chopin. Nocturne Op. 37 No. 1. 
 
 P 
 
1 1 2 
 
 Section V. 
 
 Questions and Exercises on Section V. 
 
 1. Explain tlie term "after-beat" or "after-sound". 
 
 2. Distinguish between the ornaments of the following passage. 
 
 
 
 
 • 
 
 — 
 
 T3 
 
 
 
 3. From what cause arose the original hestitation to regard the 
 Nachschlag as a standard grace? 
 
 4. How did it come about that; in more modern times, the Nach- 
 schlag became a recognized form of musical grace? 
 
 5. Express the following in exact notation. 
 
 6. Name a possible advantage in the untimed indication of the 
 Nachschlag. 
 
 7. What is the correct way of writing the Nachschlag when it is 
 not indicated in exact notation? How, for instance, may mis- 
 apprehension as to the precise species of ornament required be 
 prevented? 
 
 8. Give the German t erminology applied to the terminating sounds 
 of the shake and show wherein it differs from the English. 
 
 9. Explain why the untimed portion of the following passage is 
 similar in principle to the Nachschlag. 
 
 TO. How is the word fioritura applied to musical ornamentation? 
 
Section V. 
 
 ti3 
 
 11. When may a cadenza be strictly regarded as a form of musical 
 embellishment? 
 
 12. Express — as far as possible — , in exact notation, the execu- 
 tion of the following Nachschlage and other ornaments. 
 
 A. Adagio, Handel. 
 
 B. Andante. 
 
 tr 
 
 Bach. 
 
 . . . TZZJ ?ZZ^ 
 
 4=i=t 
 
 C. Andante. 
 
 Ibid. 
 
 D. Andante, 
 
 1^ fcT L LJ 
 
 Cw 
 
 Ibid. 
 
 E. Adagio. 
 8va - 
 
 9^ 1 3 J 
 
 HI 
 
 Ji 
 
 Haydn. 
 
 5. 
 
 ij 1 I ! 
 
 Beethoven. 
 
 G. 
 
 Chopin. 
 
 I— r 
 
 3*-).- 
 
 1 ^ 
 
 r 
 
 r 
 
 Ernest Fowles, Smdiea in Musical Graces. 
 
114 
 
 Sec. VI. Combined Graces. 
 
 SECTION VI. 
 
 Combined Graces. 
 
 I. The ornaments heretofore described occasionally appear in 
 close melodic juxtaposition or in simultaneous combination. The 
 symbolic indication of graces — employed in this manner — is 
 peculiar to older music. The occurrence of their later prototypes in 
 modern music is invariably accompanied by the expression of the 
 melodic figures they embody in exact notation. 
 
 2. The most significant combinations are those in which the 
 appoggiatura is concerned. Ex. i illustrates the combination of the 
 appoggiatura and the turn. 
 
 Andante. 
 
 H 
 
 aydn. 5 
 
 Sonata in 
 
 C. I St mov. 
 
 
 
 
 1- 
 
 
 
 3. In Ex. 2; the appoggiatura is prefatory to a shake. In 
 such cases, the appoggiatura is more frequently expressed in exact 
 notation. (Ex. 3.) 
 
 Ibid. Sonata in C mm. 2nd mov. 
 
 4. In the time of Bach, the following signs were employed to 
 indicate the combination of the appoggiatura and shake O^^', ^^tr, 
 
 or Iaw. In modern editions, it is more usual to find the sym- 
 bols relating to the respective ornaments as in Ex. 4- 
 
Sec. VI. Combined Grnnes. 
 
 115 
 
 Ex. 4. W-^t 
 
 Bach. French Suite No. II (Sarabande) 
 
 5. The small note which indicates the appoggiatura in Ex. 4 
 must be distinguished from the almost similar note in Ex. 5. In the 
 latter case, it is expressed after the manner of an acciaccatura and 
 merely signifies that the shake is to start upon the auxiliary sound. 
 (Vide Sec. Ill, par. 29.) 
 
 Mozart. Sonata in F. ist niov, 
 
 Ex. 5- 
 
 6. The appoggiatura combined with the mordent frequently 
 occurs in the works of Bach. (Exs. 6 and 7.) 
 
 Partita No. V (Allemande). 
 
 Ex. 6. 
 
 ^^^^ 
 
 Ex. 7. 
 
 French Suite No. V (Sarabande). 
 
 7. If;, however, the appoggiatura occur upon the previous 
 time-beat; the rendering is as in Ex. 8. 
 
 Bach. French Suite No. VI (Sarabande). 
 
 mm 
 
 8* 
 
ii6 
 
 Sec. VL Combined Graces. 
 
 8. When the appoggiatura is preceded by the Nachschlag, the 
 latter is usually expressed in exact notation. (Ex. 9). Per contra, 
 vide Ex. 3 Sec. V. 
 
 Haydn. Sonata in D. 2"^^ mov. 
 
 Ex. 9. 
 
 4- f 7 1- — f—^-^ 
 
 1^ 
 
 9. The shake is sometimes preceded by the double appoggia- 
 tura. The latter is then executed in the same manner as the pre- 
 fixes described in Sec. III. par. 8 et seq. (Ex. 10.) 
 
 Bach. French Suite No. Ill (Sarabande.) 
 
 
 
 
 
 
 
 
 
 
 
 
 
 -H-p-J ^ J 
 
 
 
 
 
 
 <v # - » - 
 
 
 
 
 
 10. The symbols which respectively indicate the turn and the 
 mordent appear side by side, as in Ex. 11, or one above the other 
 Jis in Ex. 12. 
 
 Bach. Three-part Invention No. V. 
 
 Mozart. Sonata in F. 2"d mov. 
 
 II. The double symbol ^ has given occasion to much mis- 
 apprehension. It is evident that the turn of five sounds offers the 
 only satisfactor}^ solution of Ex. 12 and the same may be observed 
 of Ex. 13. In the latter case, it is highly probable, that, the com- 
 
Sec. VI. Combined Grraces. 
 
 poser used the double sign to point out the exceptional character 
 of the grace. Preceded by a sound of the same pitch as the prin- 
 cipal sound, the normal turn would commence upon the upper 
 auxiliary. 
 
 Haydn. Sonata in Cmin. i^*^ mov. 
 
 Ex. 13. 
 
 12. In the music of Bach and his contemporaries, it is not 
 uncommon to meet with ornaments simultaneously combined. Thus, 
 in Ex. 14, a shake appears in the part assigned to the right hand, 
 a mordent in that assigned to the left; in Ex. 15, an appoggiatura 
 and a mordent are similarly cornbined. 
 
 Little Prelude No. XI. 
 
 6 
 
 Ex. 14. 
 
 Ex. 
 
 m 
 
 
 I 
 
 1 
 
 CO) ^ ^tf| 
 
 
 • 
 
 V 
 
 • # - 
 
 — —\/ — 
 
 3 
 
 1^ 
 
 13. The Nachschlage in Ex. 16 form terminating sounds to the 
 respective shakes. 
 
 Ex. 16. Mozart. Sonata in D. 2nd mov- 
 
ii8 
 
 Sec. VI. Combined Graces. 
 
 14. When an iintinied note occurs before the lowest sound of 
 a broken chord, it is played as a Nachschlag, the first sound of the 
 chord falling upon the beat. (Ex. 17.) (Cf. Ex. 18. Sec. V.) 
 
 Ex. 17. Chopin. Nocturne. Op. 37 No. I. 
 
 Exercises on Section VL 
 
 Express^ in exact notation, the rendering of the following graces, 
 A. Allegretto. Handel. 
 
 B. Adii'Ao. 
 
 Ibid. 
 
 r 
 
 Ibid. 
 
 D. Andanfe. 
 
 Bach. 
 
 r^tgr^ ^ ^^^ 
 
X E. Andante, 
 
 Section VI. 
 
 Ibid. F. Andante. 
 
 I 19 
 
 Ibid. 
 
 G. Andante. 
 
 Ibid. 
 
 H. Maestoso. 
 
 Ibid. 
 
 I. Adagio. 
 
 Ibid. 
 
 J. Andante. Ibid. 
 
 K. Andantino. 
 
 Ibid. 
 
 L. TV////^? Menuetto. 
 
 Haydn. 
 
 M. Tempo di Menuetto. ^ 
 
 Ibid. 
 
 N. Andante. 
 
 Ibid. 
 
 C\5 
 
 ^^^^ 
 
 O. Allegro moderato. 
 
 Ibid. 
 
I20 
 
 KSection VI. 
 
 P. AUtgro moderato. 
 
 Ibid. 
 
 
 Jr 
 
 
 • 
 
 
 
 0 m 
 
 
 
 1 1 
 
 
 
 Q. Andante. Mozart. 
 
Sec. VII. Vocal Uraces. 
 
 121 
 
 SECTION VII. 
 
 Graces in Vocal Music. 
 
 1. The musical grace may be regarded as the offspring of the 
 mediaeval contra piuictus a menteii). The practice of this invigora- 
 ting form of musical exercise taught its exponent, that, the introduc- 
 tion of foreign sounds did not necessarily invalidate the integrity of 
 a melodic ouciine; rather, did it show him, that, their careful employ- 
 ment conduced to musical interest and melodic efficiency. The use 
 thus made of auxiliary sounds - sounds in the highest degree deco- 
 rative — foreshadowed the appearance ol Diminution or Division (2) 
 which coloured the music of the earliest instrumental composers and 
 performers. The grace therefore ^omes down to us from a vocal 
 source. It was reserved for instrumental music, however, to give it 
 form and significance. The preeminence thus secured by this side 
 of executive music has never been forfeited, and the singer who 
 wishes to understand the graces introduced — sometimes sparingly, 
 sometimes plentifully — into vocal music, can pursue no more helpful 
 plan than the study of the analogous instrumental devices described 
 in the previous Sections of this book. 
 
 2. It is almost unnecessary to observe, that, for vocal purposes, 
 some ornaments are less serviceable than their corresponding instru- 
 mental forms; conversely, that, a brilliant shake or well-executed 
 cadenza is never more effective than when it occurs in vocal music 
 and under appropriate contextual conditions. Some ornaments are 
 indeed supremely vocal, lending themselves easily to the inflection 
 of the voice as well as to the musical significance or dramatic 
 interest of the moment. Of the appoggiatura , for example, all this 
 may readily be said. In the words of the singing master P. F. Tosi 
 (1647 — 1727) — ''Among all the Embellishments in the Art of 
 Singing, there is none so easy for the Master to teach, or less dif- 
 ficult for the Scholar to learn, than the Appoggiatura. This, besides 
 its Beauty, has obtained the sole Privilege of being heard often with- 
 out tiring, provided it does not go beyond the Limits prescribed by 
 Professors of good Taste." 
 
 (1) i. e. improvised Counterpoint. 
 
 (2) This term comprises the earliest examples of florid instrumental elaboration. 
 (Vide Art. Division. Glossary.) 
 
i22 
 
 Sec. Vn. The Appog-g-iatura in vocal music. 
 
 3. Ex. I illustrates the appoggiatura in exact notation. That 
 
 Mozart. Der Silfe d«s Friedens. 
 
 Ex. 1 
 
 ^ ^ ^ ^ t 
 
 it was often thus expressed by Mozart is clear from the many similar 
 instances of its employment in his instrumental music. On the other 
 hand, the use of the small untimed note (Sec. I par. 3) frequently 
 occurs in his vocal works. Ex. 2 may be compared with Ex. 7 Sec. I 
 
 Ex. 
 
 Mozart. Don Giovanni. Act II. No. 23. 
 
 A 
 
 ^^^^ 
 
 
 — 
 
 1 — 
 
 ven - di - car 
 
 ^ ^ J 
 
 —-ca ' 
 
 io 
 
 m 1 
 
 1 1 
 va - do. 
 
 f\ — 
 
 r r 
 
 ' » t » t 
 
 - - r r 
 
 r r 
 
 , — J — 
 
 -11 c_r__j 
 
 m 
 
 • P 
 
 r 
 
 4. A short appoggiatura upon a long principal sound is of fre- 
 quent occurrence in vocal music. No adequate rule to regulate perfor- 
 mance can be given in cases of this kind. The character of the passage^ 
 the nature of the word or syllable, the form of the instrumental accom- 
 paniment; all these combine to indicate the intention of the composer 
 and the scope open to the singer. The execution of the appoggiatura 
 in Ex. 3, for instance, is defined by the accompaniment; that in Ex. 4 
 by the nature of the passage in which it occurs. 
 
 Ibid. Act II. No. 27. 
 
 Ex. 3. 
 
Sec. Vil. The Appoggiatura in vocal music. 12.3 
 
 Kx. ^. Ibid. Act I. No. 14. 
 
 5. A cadential appoggiatura is usually executed a suo arbitrio. 
 Such an appoggiatura is of a particularly vocal character. (Ex. s.") 
 
 Haydn. Creation. No. 3. 
 
 Ex. 5. 
 
 
 
 ^ — # 
 
 
 
 -1 
 
 
 
 be - fore the 
 
 ho 
 
 - - - ly 
 
 beams, 
 
 
 
 
 
 
 
 
 - 1 
 
 t 
 
 r 
 
 Ex. 6 contains intermediate appoggiatura of similar type. 
 
 Recit. _J i_ _J J— Ibid. No. ^o. 
 
 Ex. 6. 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ^^^^^ 
 
 
 
 
 
 my 
 
 help, 
 
 my 
 
 shield, my 
 ^ 1 
 
 all! 
 
 thy 
 
 will 
 
 
 - 1,^ <^ — J 
 
 
 
 L^<gi 
 
 
 
 
 L__g^ 
 
 
 
 
 
 ,5 
 
 
 
 •6h 
 
 6. One method of indicating the appoggiatura, extremely common 
 in older music, is entirely confined to vocal music. When two suc- 
 cessive sounds of the same pitch, employed cadentially, occur in a 
 recitative, an upper appoggiatura is substituted for the first. (Ex. 7.) 
 
124 
 
 Sec. VII. The Acciaccatura in vocal music. 
 
 Ex. 7. 
 
 Recit. Ibic 
 -0 g ^ 
 
 . No. ro. 
 
 
 
 prais - ing God, and 
 
 L_i^ ^ — 
 
 say - ing: 
 
 
 
 
 
 1^ 
 
 and 
 
 say - ing: 
 
 The rule is followed when three successive sounds are similarly 
 employed. In the latter case, however, the appoggiatura usually 
 receives a little more than the value assigned to the written note. 
 (Ex. 8.) 
 
 Ex^ 8. 
 
 Bach. 
 
 
 
 — — ^— 
 
 
 
 [ ^ 
 
 they re - joic - ed ex - ceed - ing - ly. 
 
 ex - ceed - ing . ly. 
 
 7. The acciaccatwa is found in vocal music. The singer especial- 
 ly should be careful not to confuse the acciaccatura with the shorter 
 forms of the appoggiatura. It has been already observed, that, at 
 one period, the diagonal stroke had but an uncertain significance. 
 (Vide Sec. I par. 26.) No hesitation however need occur in such cases 
 as Ex. 9 which should be compared with Exs. 37 and 38, Sec. I; nor 
 in the case of Ex. 10 which contains an acciaccatura indicated after 
 
 
 
 Verdi. Ernani. Part I, Sc. 7. 
 •k- * • - » , '"^ ! 1 h 4- 
 
 Ah! 
 
 1 1 1 ir — j 
 
 ^-^^ 
 
 
 
 the manner of an appoggiatura, but, as regards musical significance, is 
 precisely similar to Ex. 9. 
 
 ^ ibi 
 
 d. Sc. II. 
 
 La CO - Stan 
 
Sec. Vn. The Turn in vocal music. 
 
 125 
 
 8. The lurn is peculiarly effective in vocal music. The singer 
 should observe particularly that phase of the ornament described in 
 Sec. II par. 44. It is true, that; as in the case of the inverted turn 
 in Ex. II, it is occasionally introduced for a climatic purpose but, in 
 
 Ex. II. 
 
 Wagner. Die Meistersinger. Act I. Sc. 2. 
 
 Beim Dich - ten mit Draht und Pfriem! 
 
 I 
 
 vocal music generally, the turn embodies charm and gracefulness of 
 melodic movement. It is thus employed in Ex. 12, which will be 
 recognized as an example of the chromatic turn (Sec. II par. 5) and 
 in Ex. 13 which should be compared with Sec. II par. 29. 
 
 Ex. 12. 
 
 Verdi. Ernani. Part I. No. 3. 
 Andante. Adagio. 
 
 i I I I I I I I p 
 
 ah! — — — 
 
 Ex. 13. 
 
 Beethoven. Mit einem gemalten Band. 
 
 1 
 
 mit Ro - sen sich 
 
 um - ge - ben, 
 
 , TO- 
 
 T ^ p ^ 9 ^ "V*/ P p •i p ^1 
 
 sich 
 
126 
 
 Sec. VII. The Turn in vocal music. 
 
 9. The time-position of the sounds which form a turn is some- 
 times of importance to the musical thought involved. In such cases, 
 the composer usually guards against misinterpretation by expressing 
 the grace in exact notation. (Ex. 14.) 
 
 Mozart. Abendempfindung. 
 
 Ex. 14. 
 
 10. The symbolic indication of the turn is less usual in vocal 
 music. It occurs, however, in music of every period. Ex. 15 is from 
 Haydn; Ex. 16, from Schubert. In all cases of the kind, and in view 
 of accurate performance, reference should be made to analogous 
 examples in instrumental music. 
 
 Ex. 15. Canzonet. No. 8. 
 
 P 
 
 m 
 
 when the moon faint - ly 
 
 beam - ing 
 
 Ex. 16. 
 
 Himmelsfunken. 
 
 des Him 
 
 mels Thau 
 
 II. The vocal turn is occasionally indicated in an ambiguous 
 manner. This usually occurs when a change of syllable is made 
 during the progress of the ornament. All doubt would of course be 
 
Sec. VU. The Shake in vocal music. 
 
 127 
 
 removed, were such passages invariably expressed in exact notation. 
 In Ex.17, for instance, a syllable is required for the last sound of 
 the turn. The composer has employed the symbol to indicate the 
 first two sounds of the ornament alone, the last two occurring in 
 the text. 
 
 Ex. 17. Schumann. Aus den ostlichen Rosen, 
 
 — ^- 
 
 
 
 
 
 
 
 
 
 
 
 -sanft riihi 
 
 er nicht! 
 
 12. The culture of the s/iake is of extreme importance to every 
 singer who desires to attain a high degree of efficiency. Many phases 
 of the ornament existed in the 17*^ and iS^'' centuries and contributed 
 to the embellishment of the vocal melodies of that period. In more 
 modern times, the indication and performance of the vocal shake have 
 practically come to approximate to the instrumental prototype. When 
 a difference exists, it is generally due, either to vocal limitations or 
 to the special and personal achievement of a particular singer. A long 
 shake, for instance, is not infrequently executed in gradually quicken- 
 ing beats. (Vide footnote to par. 36 Sec. III.) Again, the vocal shake 
 requires to be taken in one breath. Consequently, the long-continued 
 instrumental shake, executed without a break, is impracticable to the 
 vocahst. A further point of difference is more apparent than real, 
 viz. in the speed of the ornament or, in other w^ords, the number of 
 its beats. As we have already observed — the effectiveness of a shake 
 is in direct proportion to the frequency of the beats. (Sec. Ill par. 61.) 
 This axiom may be held to refer particularly to those shakes which 
 occur in the medium and upper registers of the musical compass. 
 There is, however, a limit — a hmit not easily definable but which 
 varies with the type of voice as well as with the species of instru- 
 ment — below the pitch of which the rule is practically inoperative. 
 It must be remembered, that, as the vibrational numbers of musical 
 sounds decrease, the sounds themselves tend to become less instan- 
 taneously perceptible to the ear; further, that this acoustical property 
 may even be intensified by a certain type of quality in the tone pro- 
 duced. Consequently, we are thrown back upon the assumption, that, 
 the speed of a vocal shake below the limit just referred to, must 
 depend upon the tone-quality of the singer as well as upon the actual 
 
I2B 
 
 Sec. VII. The Shake in vocal music. 
 
 pitch of the ornament. The execution of a low bass shake at the 
 same speed as that generally assigned to a high soprano shake would 
 result in a grotesque mingling of two sounds, both of which would 
 lose their identity. 
 
 13. Almost every form of the modern shake is found in vocal 
 music. Ex. 18 is the "passing shake" (Sec. Ill par. 48); Ex. 19 is 
 
 Haydn. Creation. No. 16. 
 
 Ex. 18. 
 
 calls th( 
 
 dove 
 
 a shake upon a dotted note with the termination expressed in exact 
 notation. (Cf. Ex. 22 Sec. III.) 
 
 Ex. 19, 
 
 Handel. Judas Maccabaeus. "How vain is man". 
 
 tr ^ _ ^• 
 
 i 
 
 The va - lour of gi - gan 
 
 I 
 
 Ex. 20 illustrates the indication of the concluding" turn by untimed 
 notes. (Cf. Sec. Ill par. 37.) 
 
 Wagner. Die Meistersinger. Act I. Sc. 3. 
 ^ f< -f- 3 ^ £ ^ % 
 
 Ex 
 
 Mei - star 
 
 preis ! 
 
 Ex. 21 contains an embellished termination often met with in 
 music of the kind, the sounds of which are invariably understood 
 to be taken a suo comniodo. 
 
 Verdi. Ernani. Pait I. Sc. 4. 
 
 tr 
 
 mu - tar, 
 
 ah! 
 
 Vo - la, » 
 
Sec. Vll. The Mordent and the Slide in vocal music. 129 
 
 14. The lozver mordent is essentially an instrumental grace. 
 The upper mordent, however, is not uncommon althou^^h, in the 
 majority of cases, it approximates rather to the ''passing shake" than 
 to the more strident mordent. The sign for the mordent appears in 
 more than one writer. Ex. 22 contains a true mordent. The same 
 may be observed of Ex. 23. (N.B. This example should be compared 
 with Ex. 17. In the latter case, the ornament starts with the upper 
 accessory sound; in the former, with the principal sound.) In Ex.24, 
 the grace is indicated by small untimed notes. (Sec. IV par. J9.) 
 
 Vivo. Schubert. An die Leyer. 
 
 
 ■—^ — # — b»-^ — ^ 
 
 r N 
 
 
 -4- V ^-=^^ 
 
 ^ ^ 
 
 die 
 
 Ley * er mocht' ich 
 
 ::=4 ' 
 
 tau - schen, 
 
 Vivace. Schumann. AValdesgespriich. 
 
 
 
 
 
 
 
 
 <2 
 
 
 
 — — •-W — 
 
 
 
 
 i 
 
 Man - uer Trug und List, 
 
 Modera!o. 
 
 Schubert. Alinde. 
 
 Ex. 24. 
 
 Die Son - ne 
 
 ikt in's tie - fe !Meer, 
 
 15. The slide, as a vocal grace, is often far from ineffective. 
 Ex. 25 is a familiar instance of its employment; in Ex. 26, the speed 
 
 1 
 
 Ex. 25. 
 
 Haydn. Creation. "With verdure clad". 
 
 Here fra - grant herbs their o-dours shed; 
 
 of the ornament is obviously regulated by the orchestral part which 
 duplicates the sounds. 
 
 Etnest Fowlea, Studies in Musical Graces. ^ 
 
Sec. VII. The Nachschlag in vocal music. 
 
 Mozart. Don Giovanni. Act II No. 20. 
 
 Ex. 26. 
 
 16. Tlie singer should be especially careful not to confuse the 
 slide with the double nachschlag. The latter is a favourite vocal 
 grace and the occurrence of two small untimed notes is, in song, 
 much more frequently a nachschlag than a slide. In the vast majority 
 of instances, the ornament is expressed in exact notation. (Ex. 27.) 
 
 Schubert. Sehnsucht. 
 
 Ex. 27. 
 
 zwischen dun 
 
 kelm Laub, 
 
 m 
 
 r 
 
 — — p 
 
 In Ex. 28, on the other hand, it is indicated by small notes (i) after the 
 manner of Ex. 11 Sec. V. Vide also Schubert's song — ^'Drang in die 
 Ferne" bar 31. 
 
 Schubert. Auf dem See. 
 
 Ex. 28. 
 
 frei 
 
 Welt. 
 
 r 1 
 
 17. No reference to vocal ornaments would be complete without 
 a glance at the portamento di voce. (It.) (Fr. port de voix.) The 
 portamento may be described as the carrying {p or tare = to carry) 
 of the voice from one sound to another, the utmost possible legato 
 
 (I) This particular ornament, however, is susceptible of another explanation. 
 Cf. Ex. »7 
 
Sec. VII. The Portamento di voce. 
 
 being an indispensable feature of the device. The legato is obtained, 
 not only by connecting the two sounds as in the two-sound slur of 
 Pianoforte music, but, virtually, by permitting the voice to pass 
 through the various intervening shades of pitch. None of these inter- 
 mediate sounds are definitely articulated. The mental effect yielded 
 by the portamento is that of a reaching for a sound, the actual pitch 
 of which is in abeyance until it has been attained by the singer. It 
 is often introduced by the practised vocalist, even when it is not 
 indicated by the composer. In Exs. 29 and 30, it is definitely indi- 
 cated, both by the small untimed note as well as by the slur which 
 connects it to its principal sound. 
 
 Schubert. Auf der Briicke. 
 
 Ex. 
 
 
 -1 — r 
 
 
 
 
 
 und 
 
 ch< 
 
 fiihrt mich 
 
 Schumann. Lied der Braut. Op. 25. No. II. 
 ri - tar - dan - do a tempo 
 
 Ex. 30. 
 
 
 
 
 
 — h -i^- 
 
 
 
 
 -1— 1: — 
 
 
 
 
 en 
 
 wie erl 
 
 Mut- 
 
 ± I 
 — 4 
 
 18. A particular use of the portamento occasionally occurs at 
 the termination of a phrase when the penultimate sound is long and 
 is separated from the final sound by a wide interval. The pitch of 
 the latter sound is reached before the moment when it is due and 
 a species of anticipation is the result. (Ex. 31.) When an 
 Ex. 31. 
 
 Allegro. Schubert. Das Heimweh. 
 
 der Hir 
 
 ten 
 
 9* 
 
Sec. VII. Vocal fioritiire. 
 
 intermediate syllable is required, the anticipation is written out in 
 fuU. (Ex. 32.) 
 
 Wagner. Die Meistersinger. Act III. Sc. 2. 
 
 Nun stellt mir ei - nen Ab - ge - sang. 
 
 19. Examples of fioritiire (Sec. V par. 13) abound in florid 
 vocal music. The execution of such is as free as the corresponding 
 types in instrumental music and, it is needless to add, that, their 
 artistic rendering mainly depends upon the culture, intelligence and 
 versatility of the singer. It would be superfluous to give examples 
 here, since it is not the object of this Section to show the student 
 how to render abnormal and extreme forms of vocal graces, but, 
 rather, to accustom him, by comparison with analogous forms in 
 instrumental music, habitually to view the various forms of standard 
 ornamentation from the instrumental as well as from the vocal stand- 
 point. It is perhaps a temptation to the singer to limit his study of 
 ornamentation to the elucidation of examples he may meet with in 
 vocal scores alone. It is impossible too strongly to impress him 
 with the necessity of obtaining a comprehensive grasp of what is 
 after all a highly technical branch of musical study. Such a grasp 
 is unattainable unless the subject be approached from every point of 
 view open to the student. 
 
 Questions and Exercises on Section VIL 
 
 I. Why should the vocal student be especially careful to stud}^ the 
 musical grace from the instrumental as well as from the vocal 
 standpoint? 
 
 2 Mention the three instrumental graces which are especially effective 
 in vocal music. 
 
 3. Upon which type of instrument can the performer most nearly 
 approach the effect produced by the portavicuto di voce? 
 
 4. Mention some symbolic indications of ornamentation which occur 
 less frequently, or not at all, in vocal music. 
 
 5. Why is the rendering of the vocal appoggiatura generally freer 
 than that of its instrumental protot3^pe? 
 
 6. Refer to Exs. 17 and 23 of this Section and explain the paren- 
 thesis in par. 14. Why does the one ornament start with the 
 upper auxiliary sound and the other with the principal sound? 
 
Section VTT. 
 
 133 
 
 7. Explain the irregular use of the turn symbol described in par. 11. 
 
 8. Describe a particular phase of the appoggiatura met with only 
 in vocal music. 
 
 9. In what manner do the words of song often influence the exe- 
 cution of a musical grace? 
 
 10. Express the graces which occur in the following passages in 
 exact notation. The entire phrase in which each grace occurs 
 should be included and the note-grouping should , throughout, 
 agree correctly with the syllabic grouping. 
 
 Mavdn. Creation. A. No. 3, bar 40. 
 
 B. „ 31, „ II. 
 
 C. „ 29, „ 20. 
 
 D. „ „, „ 67. 
 
 E. „ 25, 4^^ bar from end. 
 
 „ 16, 37^^ and 38^^ bars from entry of voice. 
 Mozart. Song. Die Zufriedenheit, bar 11. 
 
 „ Die betrogne Welt, bar 12. 
 „ Das Veilchen, bars 9 to 11 and bar 36. 
 „ Abendempfindung, bars 72 and 73. 
 „ Im Friihlingsanfang, bar 8. 
 „ Die Verschweigung, bar 17. 
 IkETHovEN. Song. Adelaide, bar 59. 
 
 „ Neue Liebe, bar 35. 
 „ Speranza, bars i and 7. 
 „ Lamento amoroso, bar 9. 
 „ Der Wachtelschlag, bars 14 and 29. 
 „ An die Geliebte, bar 8. 
 ScuuBKP.T. Song. Kreuzzug, bar 21. . 
 „ Himmelsfunken, bar 20. 
 „ Die Sterne, 17^*^ bar from end. 
 „ Dithyrambe, bar 19. 
 „ Im Haine, bar 9. 
 1^ Der KOnig von Thule, bar 7. 
 
GLOSSARY OF TERMS BEARING UPON THE 
 SUBJECT OF MUSICAL ORNAMENTATION. 
 
 The path of the compiler of a glossary of technical terms, past 
 and present, is often one of peculiar difficulty. It is the tendency of 
 terms of the kind to become rapidly obsolete; moreover, the surrender 
 of the old names and the adoption of ihe new are frequently acts of 
 an individual writer or of an independent school. The new names, 
 if not strangled in their birth, make but slow 'progress towards 
 an universal acceptance. The result is a confusion of terminology 
 which, for the time being, renders identification a task of no ordinary 
 difficulty. In no department of knowledge is this difficulty more 
 apparent than in the subject of musical ornamentation. But the 
 question of terminology is not the only perplexity that awaits the 
 student. Manj^ of the early graces have come down to us in sym- 
 bolic form only. Consequently, it is often far from easy to arrive at 
 a just conclusion in the case of symbols and general indications 
 employed at a time when composers and executants were equally 
 responsible for melodic figuration. Nor, probably, will the exact 
 solutions of the earliest graces ever issue from the doubt which 
 surrounds them. It is difficult to us, accustomed as we are to exact- 
 ness of indication, to imagine, however feebly, the full force of the 
 direction, common enough at one time, to introduce embellishments 
 into a given passage. But, although the difficulty is one that appears 
 to affect the antiquarian side of music rather than to bear upon its 
 existence as a living art, it must not be forgotten that the embellish- 
 ments of the present day have been evolved from those of earlier 
 times. Thus, while the modern graces represent the high-water 
 mark in musical expression of the kind, they ought to be received 
 and regarded as a heritage from the past. Only by so receiving and 
 regarding them will the student be able to famiharize himself with 
 all their phases; to understand their true function; to execute them 
 in an orderly and artistic manner. It is, in brief, the duty of the 
 earnest student to endeavour to comprehend more clearly the pro- 
 cesses which have issued in the effective ornamentation of the 
 present day. It is not too much to say, that, if the study of these 
 same processes be sincerely pursued, little trouble will be experienced 
 in tracing the evolution of graces from their antecedent forms to their 
 
Ahhrllnre.] 
 
 [Accent steigcnd. 
 
 latest exposition in modern music. Confusion of nomenclature Uiid 
 of actual significance as between grace and grace may often be 
 apparent, but if the subject be approached upon sufficiently broad 
 lines, it cannot but result in illuminating many passages in the 
 development of music which may previously have been felt to be 
 vague and obscure. 
 
 Abbellare. (It. v.) To embellish, to ornament by the use of graces. 
 Abbellimenti. (It. s. m. pi.) Ornaments, embelHshments. General 
 term. 
 
 Abbellire. (It. V.) To adorn, to beautify by the use of graces. 
 
 Abbellitura. (It. s. f.) An ornament, embellishment. General term. 
 
 Abzug. (Ger. s. m.) A species of the Bebung (q. v.), practically limited 
 to two sounds of the same pitch, the second of which is taken 
 off lightly, the repercussion as a rule being slight and delicate. 
 Vide Chopin. Valse Op. 34 No. 1. 14^^^ bar et seq., counting back- 
 wards from end. 
 
 Accent. (Eng.) (A) The stress or emphasis which gives clear 
 definition to the sounds comprising a grace. (B) The same as 
 the accent of the French, (q. v.) 
 
 Accent. (Fr. s. m.) Originally appHed to the decorative treatment of 
 two melodic sounds after the manner of the modern appoggiatura, 
 slide or nachschlag. Ultimately it takes the form of the appoggia- 
 tura pure and simple and is indicated by an inverted comma, 
 thus — 
 
 = <2- 
 
 or by a dash ascending or descending in the direction of the 
 movement inferred, thus — 
 
 I 
 
 Accent Double. (Fr.) Vide Double Accent. 
 
 Accent Fallend. (Ger.) The descending form of the ornament de- 
 scribed under accent. (Fr.) 
 
 Accent Plaintif. (Fr.) The ascending form of the ornament described 
 under accent. (Fr.) The name appears to have been used only in 
 connexion with music for the lute. 
 
 Accent Steigend. (Ger.) The ascending form of the ornament de- 
 scribed under accent (Fr.), thus — 
 
Accento.l — I ^^ [Anscliiag;. j 
 
 AccENTo. (It. s. in.) The same as the French accent, (q. v.) 
 AccENio Dopp]o. (It.) The same as the double accent of the French, 
 (q. V.) 
 
 AcciACCATURA. (It. s. f.) (A) A percussive ornament in use up to the 
 time of J. S. Bach and, in a modified form, up to a still later date. 
 It was indicated by a dash and is referred to in Sec. I par. 22. 
 (B) The modern ornament described in Sec. I par. 21 et seq. 
 
 AcsiACATURA. (It. s. f.) The rapid and successive occurrence of the 
 sounds of a chord. Indicated by a vertical line or zigzag placed i 
 to the left of the chord. Must be strictly differentiated from the j 
 Arpeggio. 
 
 Adornamenti. (It. s. m. pi.) A general term for ornaments. 
 Affilar il Tuono. (It.) Vide Jilar it tuono. 
 
 After-Beat. The English rendering of Nachschlag. Vide Sec. V 
 par. 1. 
 
 After-Sound. The same as After-Beat. 
 
 Agrements. Agremens. (Fr. s. m. pi.) A general term by no means 
 confined to the ornaments of music but, when used in connexion 
 with the latter, usually applied to the embellishments introduced 
 into older music. 
 
 Anticipation. (Eng.) (Fr. s. f.) (Ger. s. f.) A sound which occupies 
 the same position as the Nachschlag (q. v.) but which differs from 
 the latter in that the principal or accented sound is that which 
 immediately succeeds the sound or sounds of anticipation. The 
 Anticipation is not usually regarded as a musical embelHshment 
 per SB but of its claim to be so regarded there can be no doubt. 
 It is frequently used in a perfect cadence and this is perhaps its 
 most effective and characteristic form. In passing, it may be ob- 
 served that some eighteenth century writers indicated the An- 
 ticipation by a sign or by a small untimed note (petite note) and 
 one at least (Geminiani. 1680—1762) included it in a formal list of 
 standard ornaments. 
 
 Anschlag. (Ger. s. m.) The old term for the so-called Double Ap- 
 poggiatura. (q. v.) The three sounds which formed Anschlage 
 (pi.) were susceptible of two interpretations. (A) A rapid execu- 
 tion similar to the Acciaccatura. This occurred when the first 
 two sounds were separated by the interval of a Sf^i. (B) A more 
 leisurely and less forceful rendering. This occurred when the 
 interval between the first two sounds was greater than a 3'^ 
 The following examples are quoted from C. P. E. Bach's "Ver- 
 such iiber die wahre Art das Klavier zu spielen". 
 
Ansclilagender Vorsclilag.] 
 
 — 1 M — 
 
 (Arpeggiato. 
 
 Anschlagendkk Vorschlag. (Cut.) i. e. the "striking appoggiatura" 
 or the appoggiatura executed in the time-position of the principal 
 sound. A term used to differentiate the appoggiatura proper 
 from the Nachschhig when the latter was known as the Passmg 
 Appoggiatura. (Durchgehender Vorschlag. q. v.) 
 
 Appoggiatura. (It. s. f.) The well-known ornament of the name de- 
 sciibed in Sec. I. The term is used technically in England, no 
 satisfactory equivalent in the English tongue having been devised. 
 
 Appogiature. Occasionally Appoggiature. (Fr. s. f.) i. e. appoggiatura. 
 Vide Sec. I par. 1. 
 
 Appogiature Breve. (Fr.) i. e. the modern acciaccatura. Vide Sec. I 
 
 par. 21. 
 
 Appogiature Double, Double. (Fr.) The double appoggiatura. Vide 
 Sec. I par. 35. 
 
 Appuy. (O. Fr. s. m.) An eighteenth century term for the appoggia- 
 tura as a preface to a shake. Vide Sec. VI par. 3. 
 Arpege. (Fr. s. m.) i. e. arpeggio, (q. v.) 
 
 Arpegement. (Fr. s. m.) (A) The playing ot a chord after the manner 
 of an arpeggio. (B) A succession of harmonies so treated. 
 
 Arpegement en Descendant. (Fr.) The old term for the breaking of 
 the sounds of a chord downwards. Vide Arpeggio. 
 
 Arpegement en Montant. (Fr.) The old term for the breaking of 
 the sounds of a chord upwards. Vide Arpeggio. 
 
 Arpegement Figure. (Fr.) An 18*^ century term for the combination 
 of the broken chord and acciaccatura. Indicated by an oblique 
 stroke in the direction of the movement, thus — 
 
 Arpegement Simple. (Fr.) An 18th century term for the simple 
 breaking of the sounds of a chord without accessory ornamenta- 
 tion of any kind, thus — 
 
 Arpeggiando. (It. from arpeggiare = to play upon the harp.) The 
 treatment of a chord or of a succession of chords after the 
 manner of the arpeggio. 
 
 Arpeggiare. (It.) Vide arpeggiando. 
 
 Arpeggiato. (It.) from arpeggiare. (q. v.) Virtually after the manner 
 of playing upon the harp. 
 
Arpeggio.) 
 
 - 138 — 
 
 [Aspiration. 
 
 Akfeggio. fit. s. m. from arpeggiare. q. v.) The first appearance of 
 the Arpeggio — as an indicated grace — seems to have occurred 
 in the lute music of the 17^^ century. The sign for its introduc- 
 tion was an oblique stroke /, the parent of the vertical waved 
 line which, in modern notation, directs the breaking of the 
 sounds of a chord. It must be particularly observed, that, in 
 deah'ng with the subject of musical ornamentation, the word 
 Arpeggio refers to the broken, sustained chord only and not to 
 the brilh'ant figurative device so common in modern Pianoforte 
 music. (Cf. Acsiacatura.) The Arpeggio or broken chord was 
 included in the standard em.bellishments of music by J. S. Bach 
 and by his son Carl Philipp Emanuel. (See the work referred to 
 under Anschlag.) The waved line was employed at that time to 
 indicate the ornament. A hook was affixed to the line; some- 
 times at the upper extremity |, when it indicated the breaking 
 of the chord downwards (arpegement en descendant); sometimes 
 at the lower extremity J, when it directed the breaking of the 
 
 chord upwards (arpegement en montant). It is almost unneces- 
 sary to add, that, the former has entirely fallen into disuse, 
 the broken chord thus treated being invariably written out in 
 full, both in the modern employment of the device as well as in 
 modern editions of the works in which it was originally indicated 
 in the manner just set forth. 
 
 Aspiration. (Fr. s. f. also Ger. s. f.) As a standard ornament, the 
 Aspiration is obsolete. Originally, it corresponded to the modern 
 Nachschlag (q. v.) and was indicated by a sign resembling a 
 circumflex accent, thus — 
 
 When this sign was inverted, the sound below was taken, thus 
 
 At a later date, the sounds are both expressed in the notation 
 and a new sign is introduced, viz. |. This sign appears to have 
 indicated a good legato in the passage from one sound to the 
 other, together with a shortening of the time-value of the second 
 sound. In this guise, the Aspiration appears to be derived from 
 
Assemblage.] 
 
 ^ 139 -» 
 
 (Balancement. 
 
 the same source as the Appogoiatura. The following example is 
 from Couperin (1668—173'^). 
 
 Still later, the Aspiration reverts to its original significance. But 
 the sign A V is often replaced by a small untimed note 
 (petite note), the hook of which turns in the direction of the pre- 
 vious note. The following example is from Marpurg (1718—1795). 
 
 Assemblage. (Fr. s. m.) An occasional term for the Turn. (q. v.) 
 AusscHMUcKEN. (Gcr. V.) To embellish, to ornament. 
 AusscHMilcKUNG. (Gcr. s. f.) An ornament or embellishment. General 
 term. 
 
 Auxiliary Sounds. Sounds which are essential to all graces but 
 which do not form a part of the prevailing harmony. Of such 
 are the upper and lower sounds of the turn, the upper sound of 
 the shake, etc. 
 
 Backfall. (A) A Lute embellishment. (B) A Harpsichord grace. 
 Indicated at different periods, (a) by a short, diagonal stroke (in 
 the reverse direction to that which indicated the Fore-Fall. q. v.), 
 thus — 
 
 (b) By a sign like the comma, thus — 
 
 In either case, the Backfall may be observed as the genesis of 
 the modern Appoggiatura. 
 
 Back Turn. A rarely-used term for the Inverted Turn. (q. v.) 
 
 Balancement. (Fr. s. m.) The old Clavichord grace known in 
 Germany as the Bebung. (q. v.) An exact reproduction of the 
 repetition of the sound is practically impossible upon the modern 
 Pianoforte, but the so-called vibrato of the voice may be advan- 
 ced as a possible analogue. The Balancement was indicated by 
 the combination of a slur and dots to the number of repetitions 
 
 S 
 
^^^^"^^"^•5 ■— I40 — meat. 
 
 required, of which the modern indication of the so-called porta- 
 mento or mezzo-staccalo Pianoforte touch is a survival. (Cf. Close 
 Shake.) The following example is from Marpurg. (171S— 1795.) 
 
 Batemens. O. Fr. for battements. (q. v.) 
 
 Battement. (Fr. s. m.) An ornament resembling an inverted shake 
 and indicated by small untimed notes to the number of reper- 
 cussions required, thus — 
 
 ^1 
 
 Battements. (Fr. s. m.) (A) A term which embraced many graces 
 employed by the lutenists of the 17^1^ century. (B) The beats or 
 repercussions of the shake. 
 
 Battimento. (It. s. m.) The equivalent of the Fr. battemeitt. (q. v.) 
 
 Batterie. (Fr. s. f.) The ornamentation of a chord by the application 
 of various types of figuration. Some writers distinguish between 
 arpege and batterie as follows. To the former, belongs the simple 
 presentation in consecutive order of the fundamental sounds of 
 a chord; to the latter, the decoration of the arpeggio itself by 
 the introduction of foreign sounds. 
 
 Battery. (Eng.) (A) A 17^^ century term for the broken chord, 
 par excellence that composed of four sounds. (B) At a later 
 date, the name is applied to a broken chord with which an ac- 
 :iaccatura is intermingled. Cf. Ex. 27 Sec. I. 
 
 Bearing. An old English term for the Slide, (q. v.) 
 
 Beat. (A) Another term for the 16- 17^^ century Half -Fall. (q. v.) 
 (B) As a lute grace, analogous to the modern Lower Mordent 
 and indicated by the sign / (C) A short inverted shake of two 
 beats (late 17th century), indicated by a waved line, thus — 
 
 f ^1 = 
 
 Early in the IS^h century, this form of the Beat is indicated by 
 the sign ^ and the number of repercussions becomes more en- 
 tirely dependent upon (he performer. Later in the same century, 
 the signs -Uv and c^s are emplo3^ed and the Beat practically 
 becomes the Double Mordent, (q. v.) (D) The repercussions of 
 the shake or of kindred ornaments. Vide Sec. Ill par. 36. 
 
Beben.] 
 
 — 141 — 
 
 (Cadence liee 
 
 Beben. i. e. Bebung (q. v.) also (v.) to quiver, to shake. 
 
 Bebung. (Ger. s. f.) = a trembling, quivering, etc. A word which 
 does not appear to have been in use anterior to the time ot 
 J. S. Bach, but which had direct precursors in the names given 
 to the various older ornaments which involved the repetition of 
 a sound, (tremolo, vibrato.) For a description of the Bebung, 
 vide Sec. V par. 15. 
 
 Beisser. (Ger. s. m. = a biter) i. e. the Mordent proper. (The Lower 
 
 Mordent.) , , , .u 
 
 Bockstriller. (Ger. s. m. = goat's shake.) A comical shake "like the 
 
 quavering of a goat". 
 DoMBO. at. s. m.) An old term for the repetition of a sound, (tremoto, 
 vibrato.) 
 
 Brechung. (Ger. s. f.) A term formerly applied to the arp^gement 
 
 en nwntant. (q. v.) 
 Brise. (Fr. s. m.) A term formerly used in France for the Gruppetto 
 
 or Turn. (q. v.) 
 
 Broderies. (Fr.s.f.pl.) (A) The simple embellishments of music 
 whereby florid figuration becomes possible. (B) A general term 
 for ornaments as such. 
 
 Broken Chord. Vide Arpeggio. 
 
 BuoNA NoTA. (It.s.f.) The accented sound of a grace. 
 
 Cadence. (Eng.) also (Fr. s. f.) (A) Formerly, a shake, run or divi- 
 sion introduced as an ending to a musical phrase or melody. 
 (B) The distinct precursor of the shake of J. S. Bach. It was 
 employed in three ways. The sign ^v. or ^ indicated commence- 
 ment upon the auxiliary sound; and Owv the prefixes re- 
 spectively described in Sec. Ill pars 8 and 10. (C) At the time 
 of J. S.Bach, the term seems to have passed to the Doppelschiag 
 or turn. Vide 'Clavier-Buchlein vor W. F. Bach, angefangen in 
 Cothen den 22 Januar A% 1720.' 
 
 Cadence Appuyee. (Fr.) The combination of the appoggiatura and 
 shake. Indicated (IStii cent.) thus Uw. Cf. Sec. VI par 4. 
 
 Cadence BRisi:E. (Fr.) A cadential shake of an abrupt nature, 
 startincr with the auxiliary sound and not preceded by any souna 
 which prepares the ear for the ornament. It was indicated (18th 
 cent.) by a Greek cross, thus — 
 
 m - ^^ ^^ 
 
 Cadence Liee. (Fr.) (A) A shake preceded by an appoggiatura, 
 the latter forming the first sound of the shake. (Vide Liaison.) 
 (B) An alternative name for the Cadence Pleine. 
 
Cadence pleine.] 
 
 — 142 
 
 [Catena di trilli. 
 
 Cadence Pleine. (Fr.) Differed from the cadence brisde in the 
 manner of its preparation. The cadence pleine was preceded by 
 an appoggiatura of the same pitch as the auxih"ary sound of the 
 shake and which was virtually the first sound of the latter. The 
 cadence pleine appears to be differentiated from tlie cadence 
 appiiyde (q. v.) — in which also an appoggiatura was concerned 
 — by the fact, that the former was almost entirely of a cadential 
 nature. Moreover, the appoggiatura of the cadence pleine appears 
 in the music of the latter part of the 18th century in exact nota- 
 tion. Conversely, in the following example from Rousseau 
 (1712-1778), the cadence pleine is an indicated grace. 
 
 
 
 - 
 
 
 
 
 
 
 
 
 
 
 
 
 F , 
 
 
 
 
 
 
 
 
 
 
 
 
 _, 
 
 lJ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Cadence Soutenue. (Fr.) An earlier term for the cadence pleine 
 in which, moreover, the written appoggiatura was indicated by a 
 sign placed above the cross which represented the shake, 
 thus [jl 
 
 Cadent. (Eng.) Originally (16th_i7th cent.) a synonym of Backfall 
 (q. V.) or appoggiatura from above. At a later date, the (smooth) 
 Cadent (Vide Shaked Graces) becomes a Nachschlag after the 
 manner of an anticipatory sound. The following example is 
 from Christopher Sympson or Simpson. (1670 ante.) 
 
 Cadenz. (Ger. s. f.) i. e. Cadence (q. v.). 
 
 Cadenza. (It. s. f.) (A) Cadence (q. v.). (B) The embellishment of 
 the final portion of a movement is sometimes effected by the 
 introduction of a cadenza, i. e. a more or less extended passaqe 
 of a florid nature. 
 
 Cadenza Fiorita. (It.) A flowery, highly ornate cadence. 
 
 Cambiata. (It. s. f.) from cambiare = to change. A term sometimes 
 applied to the appoggiatura. 
 
 Canto (s. m.) Fiorito. (It.) A melody embellished by ornamental 
 figuration. 
 
 Cascata. (It. s. f. lit. cascade.) A run or series of short and con- 
 junctly moving sounds leading from one main melodic sound to 
 another. The application of the term to passages of the kind is 
 at least as old as the 16*^ century, but it does not appear ever to 
 have come into use as a precise technical term. 
 
 Catena di Trilli. (It.) i. e. Chain of shakes (q. v.). 
 
 I 
 
Cercar la nota.] 
 
 [Close Sbal-.c. 
 
 Cercar la Nota. (It. lit seek for the note.) Virtually a direction 
 for the observance of the Portamento in singing, thus — 
 
 Chain of Shakes. Vide Sec. Ill par. 56. 
 
 ChaIne de Trilles. (Fr.) i. e. Chain of shakes (q. v.). 
 
 Chevrotement. (Fr. s. m.) i. e. Bockstriller (q. v.) 
 
 Cheute. (O. Fr. s. f . ) An old term for the appoggiatura. Indicated, 
 in music of the 17 century, by an inverted comma and called 
 cheute en montant or en descendant according as the grace- 
 sound was below or above the principal sound. A hundred years 
 later, the term chente en montant becomes obsolete, being re- 
 placed by port de voix (q. v.). The cheute en descendant therefore 
 becomes the cheute, pure and simple. 
 
 Chevroter. (Fr. v.) (A) Indicating the use of the Vibrato. (Vide 
 Vibrato. B.) (B) To produce the Bockstriller (q. v.). 
 
 Chromatic Ornaments. (A) Those which, though formed upon a 
 diatonic sound, contain a sound or sounds not in the diatonic 
 series of the prevailing key. (B) Those formed upon chromatic 
 sounds of the prevailing key. 
 
 Chutte (0. Fr.) or Chute. (Fr. s. f. lit. a fall.) An early 18th century 
 term for the Nachschlag proceeding downwards to the following 
 
 Circolo. (It. s. m. lit. a circle.) A figure analogous to the Turn, the 
 principal sound being the centre of the figure. The continuous 
 repetition of the figure yields the effect of a revolution around 
 the principal sound and, hence, gives the impression of a circle 
 in tone. Mendelssohn introduces the circolo at the commence- 
 ment of the Lied ohne Worte. Op. 67 No. 4 (No. 34). 
 Circolo Mezzo. (It. s. m. lit. half-circle.) Differs from the circolo in 
 that the principal sound is at the extremity of the figure and the 
 effect of a half-circle in tone is therefore produced. The following 
 example is from Leopold Mozart. 
 
 CiRCULO. (It.) A manner of spelling Circolo (q. v.) formerly current 
 in Germany. Vide "Versuch einer grund lichen Violinschule." 
 Leopold Mozart. 
 
 Close Shake. A 17'^ century term for the Vibrato (Bebung). The 
 ornament was indicated by a dot or bv dots placed over the 
 notes affected. 
 
 sound. 
 
Close Graces.] 
 
 — 144 — 
 
 fD^tacht. 
 
 Close Graces. A term orio^inally and exclusively applied to the 
 
 execution of certain ornaments upon stringed instruments. Tlie 
 
 Bebung or Close Shake appears to form the best illustration of 
 
 the type of grace involved. (Cf. Open Graces.) 
 Cola. A term borrowed from Med. Lat. and used in the early part 
 
 of the isth century for the Slide. It was indicated in the manner 
 
 set forth in Sec. IV par. 24. 
 CoLORATURE. (It. s. f. pi.) Divisious, runs or other florid passages 
 
 particularly in vocal music. ' 
 CoLORiEREN. (Gcr. V.) To colour by means of embellishments. 
 Combined Graces. The simultaneous or immediately consecutive 
 
 occurrence of two graces. Vide Sec. VI. 
 Continued Beat. An English rendering of the French haitement 
 
 (q. V.) 
 
 Continued Shake, i. e. A long shake in contradistinction to one 
 upon a short sound. Used by Clementi as a technical term. 
 
 CouLE. (Fr. s. m. from cow/^r = to flow, to glide.) (A) An old grace 
 strictly analogous to the later Slide and indicated as in Sec. IV 
 par. 24; also as follows — 
 
 (B) Couperin (1668-1733), in his "Pieces de Clavecin", applies the 
 term to the legato connexion of tw^o sounds indicated by a slur 
 the first sound being "dwelt upon", the second being lighter and 
 shorter, i. e. after the manner of the modern two-note slur. 
 A like significance is given to the ferm by Rameau (1683—1764)* 
 but he frequently omits the first or upper sound of the ornament,' 
 mdicating it by an inverted comma. In this aspect, therefore, the 
 coiiU approximates to the appoggiattira. Rousseau (1712—1778), 
 on the contrary, indicates the ornament by a small untimed note 
 and gives it the time-position and effect of the Nachschlag. (C) 
 The Slide, pure and simple, of J. S. Bach and of later writers 
 Vide Sec. IV par. 22. 
 
 Coulements. (Fr.) An early 18* century term referring to a success- 
 ion of main melodic sounds decorated by grace-sounds similar 
 to the modern appoggiatura or nachschlag. 
 
 Coulez. (Fr.) An occasional 18th century method of spellino- couU 
 (q. V.) 
 
 Croix. (Fr. s. f.) i. e. cross, the old sign for the trille, etc. 
 
 DfiTAciiE. (Fr. s. m.) A 17th century term indicating the separation 
 of the sound immediately antecedent to a shake. The separation 
 was itself regarded and indicated as an ornament. 
 
Diatonic Ornaments. 
 
 [Double Beat. 
 
 Diatonic Ornaments. Those formed wholly of sounds belonging to 
 the diatonic scale of the prevailing key. 
 
 Diminution. An early term for the introduction of florid ornamenta- 
 tion and the consequent breaking up of the melodic outline. Vide 
 ' Division. 
 
 Division. An early term describing the beginnings of florid melodic 
 expression. The example given in the preliminary Section of 
 this book exemplifies the decoration of the main sounds of a 
 melody by the application of various kinds of ornamentation. 
 The art involved was termed Division and the respective melodic 
 movements evolved between each main melodic sound and the 
 next were called Divisions. Although the word Division was 
 employed for at least 200 years, it does not appear to have been 
 applied to any particular kind of embellishment, but remained a 
 general term or the precursor of the present-day terms — 
 auxihary sounds, graces, etc. 
 
 Divisions. Vide Division. 
 
 DoppELSCHLAG. (Gcr. s. m.) i. e. The Turn. Vide Sec. II pars. 1 
 and 3. 
 
 Doppel-Cadenz. (Ger.) Vide Double Cadence. 
 
 Doppel-Mordent. (Ger.) i. e. the Double Mordent. Vide Sec. IV 
 par. 21. 
 
 Doppeltriller. (Ger. s. m.) The double shake. Vide Sec. Ill 
 par. 55. 
 
 DoppELvoRSCHLAG. (Gcr. s. m.) i. e. The Double Appoggiatura. Vide 
 Sec. I par. 35. 
 
 Double. (Fr. s. m. sometimes Double, from the v. doubler.) The 
 Turn. (q. v.) 
 
 Double Accent. (Fr.) An early 18*^ century term describing the 
 anticipation of the second sound of the accent. (Fr. q. v.) It was 
 thus indicated — 
 
 Double Appoggiatura. Vide Sec. I par. 35. 
 
 Double Backfall. Distinguished from the Backfall fq. v.) by the 
 fact, that, it consisted of three sounds of a 3^^ in compass. It 
 was indicated (17^1^ cent.), thus — 
 
 I 
 
 Double Beat. i. e. a long Beat. Vide Beat (C). 
 
 Ernest Fowles. Studies in Musical Grace*. 
 
 10 
 
Double Cadence.] 
 
 — 146 — 
 
 [Double Relish. 
 
 Double Cadence. (Fr.) A term which varied with the individual 
 writers by whom it was originally employed. It can be most 
 easily understood as the amalgamation into one ornament of a 
 shake and turn. In the latter part of the 17 century, the double 
 cadence appears as follows. 
 
 cvw 
 
 During the next century, it takes this form. 
 
 iD _^ 
 
 I 
 
 It then reverts to its earlier form, but the preliminary turn is 
 omitted. In this phase, it is accepted by J. S. Bach. Vide Sec. Ill 
 par. 8. 
 
 Double Cheute. (O. Fr.) A 17 century grace to which the Turn 
 appears to be the nearest analogy. It was indicated and executed 
 as follows. 
 
 Double Martellement. (Fr.) i. e. pinc^ double, (q. v.) 
 Double Mordent. Vide Sec. IV par. 21. 
 
 Double Nachschlag. A term sometimes employed to describe the 
 occurrence of two melodic sounds in place of the one strictly 
 accruing to the Nachschlag. Vide Sec. V par. 11. 
 
 Double Pince. (Fr.) i. e. the Double Mordent, (q. v.) 
 
 Double Pince Renverse. (Fr.) An entirely conventional term, since 
 the extension of the pined renversd (q. v.) produces the trille, an 
 ornament altogether different from the pined double. 
 
 Double Relish. An extremely florid embellishment of two main 
 melodic sounds. (17^1^ cent.) It forms a particularly apposite ex- 
 ample of Division, (q. v.) The following example is from Tliomas 
 M^ce ("Musick's Monument" published 1676) and exhibits the 
 
Double Shake.] 
 
 — M7 — 
 
 [Filar la voce. 
 
 Double Relish as a lute grace. The indication in brackets below 
 the staff was also current during the same period. 
 
 ^ [V//] 
 
 Double Shake. Vide Sec. Ill par. 55. 
 
 DuRCHGEHENDER VoRSCHLAG. (Gcr.) i. c the ''Passiug" Appoggiatura 
 referred to in Sec. V par. 3. So-called to distinguish it from the 
 Anschlagender Vorschlag or ''striking" Appoggiatura. (q. v.) 
 
 EiNFALL. (Ger. s. m.) A term at one time applied to the Double 
 Accent, (q. v.) 
 
 Elevation. (Eng.) A 17^1^ century grace. As a "smooth grace" 
 (Vide Shaked Graces), it appears to have been the same as the 
 modern Slide. As a "shaked grace" (Vide Shaked Graces), it is 
 the precursor of the of J. S. Bach. As a smooth grace, it 
 was indicated by a Greek cross; as a shaked grace, by the same 
 with dots in the four divisions, e. g. ^. The following examples 
 are from Christopher Simpson. (17^1^ cent.) 
 
 Embellir. (Fr. v.) To embeUish, to apply musical graces. 
 Embellishment. A musical grace. 
 Embellissement. (Fr. s. m.) A musical grace. 
 
 Empater les Sons. (Fr.) To execute the sounds of a passage with 
 
 particular smoothness and tender expression. 
 False Shake. Vide Sec. Ill par. 60. 
 
 Feinte. (Fr. s. f.) An alternative term to Accent (Fr. q. v.), current 
 in the \7^^ century. 
 
 Figuration. (Fr.) Relating to the rhythmic effect of melodic orna- 
 mentation upon music generally. 
 
 Filar il Tuono. (It.) To sustain a sound with special reference to 
 expressiveness of tone. Sometimes used as a synonym of messa 
 di voce- (q. v.) 
 
 Filar la Voce. (It.) The same as the above but in special relation 
 to the voice. 
 
 'O* 
 
Filer la voix.] 
 
 ^48 
 
 [Getrillerter Doppelsclilag. 
 
 Filer la Voix. — Les Sons. The French rendering of the Italian 
 
 filar la voce and filar il tuono. 
 FiORETTE. (It. s. m. pi. lit. little flowers.) General term for musical 
 
 ornaments. 
 
 FiORiTo. (It. s. m. from fiorire = to blossom.) e. g. canto fiorito =^ a 
 florid song or melody. 
 
 FiORiTURA. (It. s. f.) A musical grace. General term. 
 
 FioRiTURE. (s. f.) The French rendering of fioritura. (q. v.) 
 
 Flatter la Corde. (Fr. lit. to caress, to touch sympathetically, the 
 string.) A signal for great expression. A direction usually 
 limited to performers upon stringed instruments. 
 
 Flatte. (Fr. s. m.) An old term for the Slide and indicated in the 
 manner set forth in Sec. IV par. 24. In at least one master of 
 the 18 A century, however, the flattd appears in the form of the 
 Double Appoggiatura indicated by an elongated dot above the 
 note affected. 
 
 Flourish. (A) A very florid ornament. (B) A fanfare. (C) The 
 
 preparatory prelude of a performer. 
 Forefall. a 17th century term for the appoggiatura from below, 
 
 otherwise known as the Beat (Cf. Beat. A.) or Half-Fall. (q. v.) 
 
 Represented in the 17 century as follows — 
 
 Fouet. Coup de (Fr.) The sudden application of brilliance at 
 
 the termination of a passage or movement. The second move- 
 ment of Beethoven's Pianoforte Concerto in C minor concludes 
 with a coup de fouet. 
 
 Fredon. (O. Fr. s. m.) The application of the Tremolo (q. v.) to the 
 voice. 
 
 Fregiatura. (It. s. f.) A musical grace. General term. 
 
 Fusee. (Fr. s. f.) A series of rapid and conjunct sounds in the form 
 
 of a run. (Roulade q. v.) 
 Gebrochener Accord. (Ger.) i. e. A broken chord. Vide Arpeggio. 
 Geprallter Doppelsciilac. (Gt r.) Vide Prallendcr DoppelschFag. 
 Gesciinellter Doppelschlag. (Ger.) The Turn of Ave sounds 
 
 executed with great rapidity. 
 Getrillerter Doppelschlag. (Ger.) The Turn of five sounds 
 
 generally preceded by an appoggiatura and ii dicat.ed by the 
 
 In the 18tJi century, the direction was as follows ~ 
 
 I 
 
GewOhnlicher Mordent.] 
 
 [Gruppetto all' ingiii. 
 
 symbols of the Doppelschlag and Mordent, one above the other. 
 
 (Cf. Sec. VI par. 11.) 
 Gewohnlicher Mordent. (Ger.) The ordinary or short Mordent. 
 
 Vide Kurzer Mordent. 
 Giro. (It. s. m.) An alternative term for the Gruppetto or Turn. 
 Glissando. (It.) Referring to the execution of a passage upon the 
 
 Pianoforte by sliding the tips of the fingers along the keys. 
 Glissato. (It.) Vide Glissando. 
 Glisse. (Fr.) Vide Glissando. 
 Glissicando. (It.) Vide Glissando. 
 Glissicato. (It.) Vide Glissando. 
 
 Glose. (Fr. s. f.) An occasional expression denoting the use of orna- 
 ments of bad taste and inappropriate significance. 
 
 Gorgheggi. (It. s. m. pi. from gorgheggiare. q. v.) A word sometimes 
 appHed, as a general term, to musical graces. 
 
 Gorgheggiamento. (It. from gorgheggiare.) The act of applying the 
 ornaments understood as gorgheggi to actual music. 
 
 Gorgheggiare. (It. v. to quaver, to tremble.) To apply florid orna- 
 mentation to a melody. 
 
 Grace. Any musical ornament. A general term. 
 
 Grace-Notes. The uniimed notes (petites notes) which appear in the 
 text of a musical composition and indicate the introduction of 
 ornaments. 
 
 Groppo. (It. s. m. lit. a knot or bunch.) (A) The Italian equivalent 
 of the word Division (q. v.) (B) Early in the 18th century, the 
 term seems to have passed to the figure known as the Circolo 
 Mezzo (q. v.). Leopold Mozart gives the following example of 
 
 Groppolo. The name given by a 16*^ century Italian writer (Emilio 
 
 del Cavalieri) to a shake with concluding turn. 
 Group. (Eng.) i. e. A Division, (q. v.) 
 
 Groupe. (Fr. s. m.) The series of sounds which collectively form a 
 grace; more particularly those represented by untimed notes such 
 as the Turns in Exs. 44 et seq. Sec. II. 
 Gruppetto, occasionally but incorrectly — Grufetto. (It. s. m. /z?. a 
 
 little bunch or knot.) The Turn. Vide Sec. II. 
 Gruppetto all' IngiCj. (It.) The ordinary, i. e. the downward Turn, 
 thus — ^ 
 
 the "groppo ascendente". 
 
Grupnetto all' insu.] 
 
 [Kettentnller. 
 
 (jKUPi'Erxo ALL' iNstJ. (It.) Tlic inverted, i. e. the upward Tuin, thus — 
 
 Gruppo. (It. s. m. = a group.) (A) A Division, (q. v.) (B) The formal 
 termination of a shake, (terminazione , Nachschlag.) (C) Occa- 
 sionally used for the Turn. (D) Each alternation of the figure 
 in a passage such as the Circolo. (q. v.) 
 
 Halb-Circkel. (0. Ger.) The Circolo Mezzo, (q. v.) A figure re- 
 garded as a standard grace anterior to the time of J. S. Bach. 
 
 Halb-Triller. (Ger.) The Circolo Mezzo preceded b}^ an appoggia- 
 tura. The following example is from Leopold Mozart. Such a 
 figure would, in the present day, be described as a combination 
 of the Vorschlag and Doppelschlag, i. e. of the appoggiatura 
 and turn. 
 
 Half-Fall. An alternative \7^^ century term for the Fore- Fall (q. v.) 
 
 or the Beat. (Vide Beat. A.) 
 HAJiPEGE. (Fr.) A less usual form of the word arpige (q. v.) which 
 
 derives its initial letter from the particular relation of the device 
 
 to the instrument Harpe. 
 Harpegement. (Fr.) i. e. arp^gement (Cf. Harpege.) An example of 
 
 the Harpegement as a standard grace of the 17 century is here 
 
 subjoined. 
 
 Harpegiatura. (From the It.) An early 18 century writer's term 
 
 for the arp^gement simple, (q. v.) 
 Hauptnote. (Ger. s. f.) The principal sound of a grace. 
 Hilfsnoten. (Ger. s. f. pl.) The "helping", i. e. the auxiliary sounds 
 
 of a grace. 
 
 Inferior Appoggiatura. An appoggiatura one degree below the 
 principal sound. Early 18* century. (Geminiani.) 
 
 Inferior Cadence. The low^er cadence (shake) when two are executed 
 simultaneously. (18* cent.) Cf. Superior cadence. 
 
 Inverted Mordent. Vide Sec. IV par. 2. Must not be confused with 
 the pined renversd. Vide Sec. IV par. 4. 
 
 Kettentriller. (Ger. s. m.) Vide Sec. Ill par. 56. 
 
Krausel.l 
 
 (Metter la Voce. 
 
 Kkausel. (Ger. s. m. variation of Kreisel = a top.) A colloquial term 
 
 applied to the German Mordent. 
 KuKZER Mordent. (Ger.) i. e. the short or ordinary Mordent Cf. 
 
 Gewohnlicher Mordent. 
 KuRZER VoRSCHLAG. (Ger.) Vide Sec. I par. 21. 
 
 Langer Mordent. (Ger.) The Long or Double Mordent. Vide 
 Sec. IV par. 21. 
 
 Langer Vorschlag. (Ger.) i. e. the modern appoggiatura in contra- 
 distinction to the kurser Vorschlag of J. S. Bach. 
 
 LAtiFER. (Ger. s. m.) A run. (Roulade, Tirata, q. v.) 
 
 Liaison. (Fr. s. f.) (A) The slur which connected the appoggiatura 
 to the ornament with which it was combined; an important indi* 
 cation in music of the ISt^^ century, e. g. 
 
 Cadence liee. 
 
 (B) The execution of a run (roulade) with one stroke of the bow, 
 in one breath, etc. 
 Long Mordent. Vide Sec. IV par. 21. 
 
 Lower Mordent, i. e. the Mordent proper. Vide Sec. IV par. 2. 
 Manie. (Fr. s. f.) Practically the same as the German Manier, but 
 often used to describe a vulgar or over ornate grace. 
 
 Manier. (Ger. s. f. pi. ... en.) A musical grace (graces.) General 
 term and the equivalent of agrements. (q. v.) 
 
 Manier A. (It. s. f.) Equivalent to the German Manier. 
 
 Martellement. (Fr. s. m. O. Fr. = Martelement.) (A) An 18*^ cen- 
 tury term for the Mordent. Indicated by the sign V. (B) A 
 Bebung-like effect produced upon the Harp. (Vide Bebung.) 
 
 Martellement Double. (Fr.) The Double Mordent. Indicated (18* 
 cent.) by the sign aw or 
 
 Martellement Simple. (Fr.) The pinc^ or Mordent proper 
 
 Martellement Triple. (Fr.) Virtually the inverted shake described 
 under Battement. Indicated as the martellement triple (18^^ cent.) 
 by the sign or ^jvV. 
 
 Melisma. (From the Greek.) (A) A musical grace. Hence the Ger- 
 mans call an ornate song ein melismatischer Gesang. (B) The 
 execution of a series of sounds to one syllable and in one breath. 
 
 Melisme. (Fr. s. m. from the Greek.) i. e. Melisma. (q. v.) 
 
 Melismata. (Fr. s. m.) In its present acceptation, the equivalent 
 perhaps of the Italian Gorgheggio. (q. v.) 
 
 Messa di Voce. (It.) A term current in Italy describing the appli- 
 cation of a crescendo and decrescendo to a long sustained sound. 
 
 Metter la Voce. (It) The direction to observe the ^nessa di voce. 
 
Mezzo Trillo.J 
 
 — 152 
 
 [Nebennoten. 
 
 Mezzo Trillo. (It. s. m. lit a half shake.) (A) An obsolete ornament 
 It is thus rendered by P. F. Tosi. (1650—1730.) 
 
 (B) The Passing Shake. Vide Sec. Ill par. 48. 
 MiNUTi. (It. s. m. pi. lit. minutes [of time]). Groups or runs (virtually 
 Divisions, q. v.) intended to decorate the main sounds of a melody 
 and employed alia menle by the executants of the 16^ and 17th 
 centuries. 
 
 MiSE DE Voix. (Fr.) i. e. messa di voce. (q. v.) 
 
 MoNACHiNA. (It. s. f.) The name given to the Mordent by the writer 
 referred to in Groppolo. (q. v.) The term refers to the bird 
 somewhat vaguely known as the gnat-snapper. It is curious that 
 the strident character of the ornament in question should thus 
 early have received recognition. Cf. derivation of Mordent. 
 Sec. IV par. 1. 
 
 Mordant. (Fr. s. m.) i. e. Mordent. 
 
 MoRDANTE. (Fr. s. m.) A variant of mordant. 
 
 Mordent. Doppelter— (Ger.) Vide Sec. IV par. 21. 
 
 Mordent. Double— Vide Sec. IV par. 21. 
 
 Mordent. Inverted— Vide Sec. IV par. 2. 
 
 Mordent. Langer— (Ger.) Vide Sec. IV par. 21. 
 
 Mordent. Long— Vide Sec. IV par. 21. 
 
 Mordent. Lower— Vide Sec. IV par. 2. 
 
 Mordent. Upper— Vide Sec. IV par. 2. 
 
 Mordente. (It. s. m.) Vide Sec. IV par. 5. 
 
 Nachschlag. (Ger. s. m. but accepted generally as a technical term.) 
 The modern grace of the name. (Vide Sec. V.) The first recorded 
 recognition of the Nachschlag as a standard ornament occurs in 
 the 17th century. (Vide Springer.) In the 18th century, the signs 
 A and V represented respectively the sound above and below 
 the principal sound. It is important to observe that the employ- 
 ment of the name Nachschlag is of more recent date. Ante- 
 cedent to its adoption, the ornament was known as the "passing 
 appoggiatura". (Durchgehender Vorschkig.) Vide Sec. V par. 3. 
 
 Nachschlag. Double— As the name implies,^ two sounds in place of 
 the one ordinarily occupying the position of the Nachschlao- 
 Vide Sec. V par. 11. 
 
 Nachschleife. (Ger. s. f.) ' That form of the termination of a shake 
 described in Sec. Ill par. 12. 
 
 Nebennoten. (Ger. s. f. pi.) The auxiliary, i. e. the accessory or 
 secondary sounds of a grace. Of such are the upper and lower 
 sounds of the Turn. 
 
Niedei schlag.] 
 
 [Pinc<^. 
 
 NiEDERSciiLAG. (Gcr. s. 111.) That part of a bar upon which the 
 
 strongest sound of a grace falls, (thesis.) 
 NoTA Anticipazione. (It.) Vide Anticipation. 
 
 NoTA BuoNA. (It. lit. good note.) i. e. the accented sound (of a grace). 
 NoTA Cattiva. (It. lit. wicked note.) In a figurative sense, the weak 
 
 or unaccented sound (of a grace). 
 Note D'Agrement. (Fr.) A grace note. 
 Note D'Anticipation. (Fr.) Vide Anticipation. 
 
 NoTiNA. (It. s. f.) The same as the petite note of the French, (q. v.) 
 
 Nuances. (Fr. s. f. pi.) An expressive word primarily referring to 
 the various shades of colour but, in reference to music, describing 
 those indefinite and delicate shades of tone-colour and aesthetic 
 significance at the command of the cultured executant. No better 
 definition of the figurative use of the word can be conceived than 
 that afforded by Pierre Larousse. (Dictionnaire.) "Difference 
 delicate et presque insensible entre choses du meme genre." 
 
 Open Graces. A 17*^ century term introduced to differentiate that 
 type of grace in which the participating sounds were separated 
 by definite intervals of pitch from the Close Graces (q. v.) which 
 were akin to the Vibrato or Tremolo. 
 
 Organisiren. (Ger. v.) An old expression, relating to the process of 
 introducing the early Divisions (q. v.) into music for the Organ. 
 
 Ornament. A grace. General term. 
 
 Ornamenti. (It. s. m. pi.) Musical graces. General term. 
 
 Ornements. (Fr. s. m. pi.) Musical graces. General term. 
 
 Orner. (Fr. V.) To ornament, i. e. to introduce musical graces. 
 
 Passing Shake. Vide Sec. Ill par. 48. 
 
 Pause. Strictly speaking, not a musical grace. Nevertheless, the 
 application of the messa di voce (q. v.) to a sound prolonged by 
 the Pause is a favourite and effective means of embellishment. 
 It must be noted that the Pause was included in Thomas Mace's 
 category of lute graces. (17*11 cent.) This probably arose from 
 the fact, that it was the antithesis of the Tutt (q. v.) or the grace 
 which abbreviated the time-value of a sound. 
 
 Petit Groups. (Fr. s. m.) A rough and ready rendering of the It. 
 gruppetto. (q. v.) 
 
 Petite Note. (Ff . s. f.) The small untimed note which represents 
 the appoggiatura or acciaccatura. 
 
 Petites Notes. (Fr. s. f . pi.) The small untimed notes which repre- 
 sent the Turn, etc. Cf. Sec. II par. 36. Sec. Ill Ex. 55. 
 
 Piccola Nota. (It. s. f.) The equivalent of the Fr. petite note. (q. v.) 
 
 PiNCE. (Fr. s. m.) A word virtually conveying the same meaning as 
 the C^er. Mordent. The pitch-arrangement of the sounds which 
 form the ornament appears to have undergone no material 
 change during the centuries which have elapsed since the earliest 
 
Pinc6 Bemolis6.1 
 
 — 154 
 
 [Piiice Renvers^. 
 
 employment of the pinc(^. But the aesthetic effect accruing to the 
 grace has varied considerably from time to time. Even in the 
 days of J. S. Bach, it was frequently executed in a leisurely 
 manner. (Vide Sec. IV par. 13.) This particular master, however, 
 took the precaution of indicating the ornament under such con- 
 ditions in exact notation. The method of indicating the pined has 
 also varied from time to time. Thus, in the latter part of the 17 
 century, we find the symbols ^, /^v and f or T'- The latter 
 sign is also common to the Battement (q. v.) which Rameau 
 erroneously calls the pined. 
 
 PiNCE Bemolise. (Fr.) An old term expressing the lowering of the 
 auxiliary sound of the pined to a tone below the principal sound. 
 Used particularly when the semitone below was diatonic in the key. 
 
 PiNCE CoNTiNU. (Fr.) An old term which described a prolonged 
 Battement (q. v.) or inverted shake. To be strictly differentiated 
 from the Tr emblement continu (q. v.) in which the auxiliary sound 
 was above the principal sound, i. e. the shake proper. 
 
 PiNCE DiESE. (Fr.) An old term expressing the raising of the 
 auxiliary sound of the pined to a semitone below the principal 
 sound. Used particularly when the tone below was diatonic in 
 the prevailing key. 
 
 PiNCE Double. (Fr.) The double or long Mordent, (q. v.) 
 
 PiNCE Etouffe. (Fr.) (A) Virtually a short appoggiatura or acciaccatura 
 when used in conjunction with a chord. The term — the "stifled" 
 mordent — refers to the abbreviation of the grace by the non- 
 occurrence of the first sound accruing to the Mordent proper, 
 thus — 
 
 (B) Originally used for the older Acciaccatura. (q. v.) 
 PiNc6 Lent. (Fr.) An old term meaning a slow Mordent; a dweUing 
 upon the first sound of the grace and the comparatively slow 
 execution of the remaining two. In our time, the resultant orna- 
 ment would more accurately be described as a Double Nach- 
 schlag. The following example is from Marpurg. (1718—1795.) 
 
 PiNCE Lie. (Fr.) Vide Liaison. 
 
 PiNC^: Renvers^:. (Fr.) i. e. the Pralltriller or the English Upper 
 Mordent. Vide Sec. IV par. 4. 
 
P'xuct Simple.] 
 
 fPort de Voix. 
 
 PiNCE Simple. (Fr.) i. e. the Mordent pi oper or the English Lower 
 Mordent Vide Sec. IV par. 4. 
 
 PiNcfiMHiNT. (Fr. s. m.) A 17'^ century synonym of Pinc6. (q. v.) 
 
 Plain Beat. i. e. the appoggiatura approaching the principal sound 
 from below. (17 cent.) Cf. Shaked Beat. 
 
 Plain Note and Shake. (17^^ cent.) The combination of the appoggia- 
 tura and upper mordent. The following example is from Purcell. 
 (1658—1695.) 
 
 i 
 
 ¥- 
 
 Plain Shake. (18^^ cent.) A shake without a formal termination and 
 indicated by tr- in contradistinction to the sign which repre- 
 sented the Turned Shake, (q. v.) 
 
 Plica. (Med. Lat. from pltco=^ I fold, 1 coil up.) The sign used in 
 neume notation for the sound-figure which is supposed to have 
 resembled the modern Turn. 
 
 Plique. (Fr. s. f.) i. e. the Plica, (q. v.) 
 
 Point D'Arrest. (0. Fr.) The final sound of a shake. Couperin's 
 (1668—1733) own words will most clearly explain the point 
 involved. "Les tremblements d'un valeur un peu considerable, 
 renferment trois objects, qui dans I'execution ne parroissent qu'une 
 m^me chose. P L'appuy qui se doit former sur la note au 
 dessus de I'essentielle. 2® Les batements. 3^ Le point d'arrest. 
 
 Tremblement. 2" 3" 
 
 '-^ 0 F • • 9^ 
 
 
 
 
 
 
 F'ort de Voix. (Fr. s. m.) Until the early part of the 18^^ century, this 
 ornament was practically synonymous with the early appoggia- 
 tura or cheute. (q. v.) The first indication of its future sig- 
 nificance appears when it supplants the cheute en montant. (Vide 
 cheute.) Passing through many phases and indicated during the 
 and 18 til centuries by one or other of the following signs 
 V, +, X, i, V, it ultimately assumed its modern phase. The port 
 de voix may be described as the passage of the voice from one 
 sound to another at a disjunct interval without conveying the 
 effect of a leap, i. e. without distinctly articulating any intervening 
 sound but appearing to pass through all the gradations of pitch 
 within the range of the interval. It is thus indicated — 
 
 The term port de voix is seldom employed in connexion with 
 instrumental music. The device, however, is sometimes employed 
 
Port de voix coul6.| 
 
 — 150 - 
 
 [Prallender Doppelschlag, 
 
 by the violinist and a delightful example of its application to 
 Pianoforte music may be observed in the Allegretto of Bee- 
 thoven's Sonata Op. 14 No. 1 (No. 9), bar immediately before the 
 Maggiore. The bar obviously contains a pedal effect, but a happy 
 realization of the nature, of the port de voix is essential to its 
 effective performance. 
 Port de Voix Coule. (Fr.) An early century term, an exact 
 synonym of the cheute en montant (q. v.), i. e. an appoggiatura 
 from below. 
 
 Port de Voix Double. (Fr.) The combination of the appoggiatura 
 and double mordent. (Early 18 century.) The following example 
 is from Couperin. 
 
 f 
 
 Port de Voix Jet6. (T'r.) A term of the latter part of the 18 ti^ cen- 
 tury describing the prolongation of the appoggiatura in the pov) 
 de voix simple (q. v.) and the consequent quickening of the sound 
 of the mordent immediately succeeding. 
 
 Port de Voix Pince. (F) The combination of a short appoggiatura anc 
 mordent. The following example is from Marpurg (1718—1795 
 
 1 
 
 Port de Voix Simple. (Fr.) A term which varied from the orna- 
 ment otherwise known as the port de voix pinci^ (q. v.) (Earl}^ 
 18'^ cent. Fr. writers) to the simple decoration of a sound by an 
 appoggiatura or nachschlag. (Late 18 cent. Ger. writers.) In the 
 former case, the term port de voix simple served to distinguish the 
 combination of the appoggiatura and simple mordent from that of 
 the appoggiatura and double mordent or th^ port de voix double, (q.v.) 
 
 Portament. (Ger. s. n.) i. e. the port de voix of the French; the 
 portamento of the Italians. 
 
 Portamento. (It. s. m. from portare = to carry.) Vide port de voix. 
 
 PoRTANDo LA VocE. (It.) Referring to the execution of the Porta- 
 mento, (q. V.) 
 
 PoRTARE LA VocE. (It.) To observe the portamento, (q. v.) 
 
 Porter la Voix. (Fr.) The same as portare la voce. (q. v.) 
 
 Prallender Doppelschlag. (Ger.) The combination of the appoggia- 
 tura, Pralltriller and turn. Both term and ornament are obso- 
 lete. The following example is from J. C F. Bach. (1732—1 95) 
 Cf. Sec. VI par. 11. 
 
 1 
 
Pralltriller.] 
 
 — t57 — 
 
 [RQ kU\. 
 
 Pralltriller. (Ger. s. m.) Vide Sec. IV par. 3. 
 
 PRErARED Shake, i. e. the shake prefaced by preliminary sounds. 
 
 Vide Sec. Ill par. 8. 
 Quadruple Shake. Four concurrent shakes. 
 
 QuETSCHUNG. (Gcr. s. f.) i. e. a crushing. A term sometimes employed 
 
 for the Acciaccatura. 
 QuiLiSMA. (Med. Lat.) A grace indicated in neume notation and 
 
 supposed to have resembled the modern shake. 
 Rauscher. (Ger. s. m.) A passage ornamented by the repetition of 
 
 the various sounds, e. g. 
 
 Redouble. (Fr. s. m.) An old term for the Turn. Cf. Bris^. 
 Reflorimentl (It. s. m. pi.) Arbitrary embellishments introduced in 
 
 the act of performance. 
 Retouche. (Fr. s. f.) The addition of graces to a melody. 
 RiBATTUTA OR RiBATUTA. (It. s. f.) Originally a species of Division 
 
 (q. V.) and consisting of the intermittent repetition of the main 
 
 sound and auxiliary one degree above, e. g. 
 
 Afterwards applied to a development of the same ornament in 
 which the repetition becomes more frequent during the progress 
 of the time-value of the principal sound. The following example 
 is from Leopold Mozart's "Grundliche Violinschule." 
 
 Rise. A synonym of Plain-Beat. (q. v.) 
 
 RoLLE. (Ger. s. f.) (A) An old synonym of Doppelschlag. (q. v.) 
 (B) A sound-figure after the manner of the following. 
 
 Roulade. (Fr. s. f.) An embellishment in the form of a run. 
 RouLEMENT. (Fr. s. m.) An ornament resembling the shake executed 
 
 on the drum, i. e. the drum-roll. 
 RtjcKFALL. (Ger. s. m.) The Nachschlag expressed after the manner 
 of the appoggiatura, e. g. 
 
 -0 — 
 
RQckschlair.l 
 
 - T58 - 
 
 (Shake. 
 
 ROcKscHLAG. (Ger. s. m.) The Kibattuta. (q. v.) Cf. Zuriickschlag. 
 
 Run. The EngHsh rendering of roulade, (q. v.) 
 
 Sanglot. (Fr. s. m. lit. a sob, sobbing.) An old term for an embelhsh- 
 ment used by singers. The Sanglot appeared variously in the 
 form of an anticipation, nachschlag or port de voix. It usually 
 occurred upon an interjection and, as implied by the name, en- 
 joined extreme pathos upon the singer. A small untimed note as 
 a rule denoted the Sanglot. 
 
 
 
 — 
 
 
 
 
 
 
 
 
 
 
 
 ^\ 
 
 
 
 
 
 0 
 
 
 1 
 
 
 
 
 
 
 
 - rj 
 
 
 
 
 
 ScHLEiFER. (Ger. s. m.) Vide Sec. IV par. 22. 
 
 ScHLEUFER, Old German for Schleifer. (q. v.) 
 
 ScHNELLER. (Ger. s. m.) A s3monym of Pralltriller. (q. v.) 
 
 ScHXELZER. (Ger.) An old form of the word Schneller. (q. v.) 
 
 ScHWARMER. (Ger. s. m.) (A) A synonym of Rauscher. (q. v.) (B) 
 An old term for the repetition cf a sound. (Tremolo.) 
 
 Sdrucciolare. (It. V. = to slide.) Sometimes used to indicate the 
 "Glissando." (q. v.) 
 
 Semitremulo. (Med. Lat.) A term indicating the Mordent, used in 
 the early part of the century. 
 
 Separation. An 18 century term expressing the separation of the 
 last sound of a grace from the following sound, thereby pro- 
 ducing an effect not unlike that accrtiing to the modern two-note 
 slur. The solutions of the following examples from Geminiani 
 (1680—1762) are by Dannreuther — "xMusical Ornamentation". 
 
 Shake. Always the most briUiant and popular of musical graces. 
 The signs that have been used to indicate the shake are of the 
 most varied description. Those employed in the 18^ century and 
 afterwards are described and exemplified in Sec. Ill; those of 
 the 17th century varied from the single letter t, through the 
 somewhat indefinite signs V and -f) to the waved line ^ in 
 the latter of which we discern the parent of the later indication. 
 
 Shake. Descending— An 18 century term describing a shake which, 
 by lowering the under sound in the course of the time-allowance 
 of the ornament, descended diatonically or chromaticall}^ down 
 the scale. This is the parent of the descending form of the so- 
 called Chain of Shakes, (q. v.) Vide Sec. Ill par. 57. 
 
Shake.] 
 
 [Shaked Cadent. 
 
 Shake. False— Vide Sec. Ill par. 60. 
 
 Shake Major.' An 18th century term for the shake whose auxiliary 
 sound was a tone removed from the principal sound. 
 
 Shake Minor. An IS^h century term for the shake whose auxiliary 
 sound was a semitone removed from the principal sound. 
 
 Shake. Passing— Vide Sec. Ill par. 48. 
 
 Shake. Redoubled— An 18 century ornament. It appears to have 
 been one of the many species of the shake left to the discretion 
 of the executant and was, therefore, not specially indicated. The 
 grace consisted of several intermittent shake-beats all having the 
 same principal sound, between which were inserted, at periodic 
 intervals, certain auxiliary sounds in conjunct relationship. The 
 device is not unknown in modern vocal music, but it is unneces- 
 sary to add, is always expressed in exact notation. The following 
 example is from P. F. Tosi. (1650-1730.) 
 
 Shake. Rising— The converse of the Descending Shake (q. v.) and 
 therefore the parent of the ascending form of the Chain of 
 Shakes, (q. v.) 
 
 Shake. Short— i. e. the Mezzo-Trillo. (q. v.) 
 
 Shake. Slow— An 18'^ century term. Virtually the application of 
 the Ribaltuta (q. v.) to the shake. The latter commenced with 
 slow beats and was gradually accelerated. The Slow Shake 
 however differed from the Ribattuta in that the beats were 
 approximately regular from the commencement of the ornament 
 to the end. 
 
 Shaked Backfall. (17^1^ cent.) Differentiated from the Smooth Back- 
 fall (vide Backfall and Smooth Graces) by the fact that the 
 appoggiatura was replaced by a shake. The following example 
 is from Christopher Simpson. (17 cent.) 
 
 
 
 
 a-^-m 
 
 
 
 
 
 Shaked Beat. The converse of the Shaked Backfall (q. v.) and thus 
 expressed by Simpson. 
 
 Shaked Cadent. Differed from the Smooth Cadent (q. v.) in that a 
 shake occurred upon the sound immediately before the nachschlj^fr 
 or anticipation. This shake contained a preparation and may be 
 
Shaked Double Relish.] 
 
 — i6o — 
 
 [Superior Appoggiatura 
 
 compared with Sec. Ill par. 8. Simpson thus expresses the 
 Shaked Cadent. 
 
 Shaked Double Relish. Vide Double Rehsh. 
 Shaked Elevation. Vide Elevation. 
 
 Shaked Graces. The 17 century division of graces into two species 
 — Smooth and Shaked — has come down to us through the violist 
 Sympson or Simpson. The smooth grace was that in which the 
 passage from sound to sound was effected by melting, as it were, 
 the one into the other, i. e. somewhat after the manner of the por- 
 tamento of the voice. This method of execution would obviously 
 only be practicable upon stringed instruments. The shaked 
 grace was virtually the embellishment of the smooth grace by 
 the elimination of the special method of execution pertaining to 
 the latter and the addition of a shake, e. g. Cf. Beat (A) with 
 Shaked Beat. 
 
 Single Relish. A little-used term but practically denoting (17 th cent.) 
 
 a species of passing shake. 
 SiNGMANiER. (Ger. s. f.) A vocal grace. Vide Manier. 
 Slide. Vide Sec. IV par. 22. 
 
 Sliding Relish. A rarely used 17 th century term for the same grace 
 as the modern Slide, expressed thus — 
 
 Slur. The old term for the Slide and indicated in the manner de- 
 scribed in Sec. IV par. 24. 
 Smooth Graces. Vide Shaked Graces. 
 
 Son Coupe. (Fr.) The abbreviation of the time-value of a sound after 
 the manner of the modern mezzo-staccato. Classed as an orna- 
 ment by Rameau (1683—1764). It was indicated by a point ] or dash | 
 placed above the note effected. 
 
 Spielmanier. (Ger. s. f.) An instrumental grace. Cf. Manier and Sing- 
 manier. 
 
 Springer. A Nachschlag of the 17 century and thus indicated — 
 
 Sting. A term used by lutenists to describe the Tremulo or Vibrato. 
 
 Indicated by the sign aw or /^yv. 
 Superior Appoggiatura. i.e. aa appoggiatura one degree above 
 
 the principal sound. (Early 18*^ cent.) Cf. Inferior Appoggiatura. 
 
Superior Cadence.] 
 
 ~ i6i — 
 
 [Trembletnent aspir6. 
 
 Superior Cadence. The upper cadence (shake) when two were 
 executed simultaneously. (18^^ cent.) Cf. Inferior Cadence. 
 
 Suspension. (Fr. s. f.) The converse of the son caup^ (q. v.), that part 
 •of the sound abbreviated being the first. It was thus indicated and 
 performed. 
 
 Terminazione. (It. s. f.) The final turn of the shake. (Nachschla^.) 
 Tierce Coulee. (Fr. s. f.) i. e. the Slide comprising three sounds. 
 Tierce Coulee En Descendant. (Fr.) The downward Slide of 3 sounds, 
 thus — 
 
 Tierce Coulee En Montant. (Fr.) The upward Slide of 3 sounds, 
 thus — 
 
 Tirade. (Fr. s. f.) The Tirata. (q. v.) 
 
 Tirata. (It. s. f.) An ornamental scale -passage leading from one 
 sound to another at the distance of an octave or less. In early- 
 days, the Tirata was introduced by the executant alia mente and 
 was not specially indicated. In later days, the leading sounds of 
 the passage to be embellished were given. (Vide "Viohnschule" 
 Leopold Mozart.) Since the days of Mozart, however, the Tirata 
 has been invariably indicated in full. 
 
 Tirata Piccola. (It.). An IS'^^ century term for the SHde. 
 
 Tours de Force. (Fr.) The execution of roulades, ornaments, after 
 the manner of divisions and other briUiant embellishments. 
 
 Trait. (Fr. s. m.) The execution of a single succession of sounds 
 (roulade, tirade, etc.) in one breath or with one stroke of the bow. 
 
 Transient Shake, i. e. a Passing shake. Vide Sec. Ill par. 48. 
 
 Tremblement. (Fr. s. m.) As a lute grace , similar to the pined ren- 
 versd; otherwise a synonym of trille (shake). 
 
 Tremblement Appuye. (Fr.) A dwelling upon the first sound 
 (auxiliary) of a shake, i. e. a combination of the appoggiatura 
 and shake. Indicated (17 cent.) by the sign or (18'^ cent.) 
 by the sign IavO (Cf . Sec. Ill par. 12) or Iaw cns when a formal 
 termination was required for the shake. 
 
 Tremblement Aspire. (Fr.) (Co up er in.) A shake cut short by the 
 interposition of a rest. 
 
 Ernest Fowles, Studies in Musical Graces. II 
 
Trcmblement conthiu.] 
 
 — 162 
 
 [Triller. 
 
 Tremblement Continu. (Fr.) A continuous shake. Not to be con- 
 fused with the pinc^ continu. (q. v.) 
 
 Tremblement CouLE. (Fr.) An 18 tii century term for the shake with 
 preparatory sounds, e. g. tremblement coul^ en descendant (Sec. Ill 
 par. 10); tremblement couU en montant (Sec. Ill par. 8). 
 
 Tremblement Detache. (Fr.) (Couperin.) A direction so to perform 
 a shake that it does not lead to the following sound. In this type 
 of shake, the last sound of the ornament frequently occurred in 
 the time -position of the written note. The shake was therefore 
 executed before the latter. 
 
 Tremblement Double. (Fr.) An 18*^ century term not referring to 
 the length of the shake but to the fact, that it finished with a turn 
 and therefore comprised two ornaments. 
 
 Tremblement Ferme. (Fr.) (Couperin.) A shake with a closing turn, 
 the principal sound of which w^as followed by a sound one degree 
 below. Ex. 12, Sec. Ill is a tremblement fermd. 
 
 Tremblement Lie. (Fr.) A shake, the first or auxiliary sound of 
 which was tied to the previous sound. The shake therefore com- 
 menced upon the principal sound. 
 
 Tremblement Ouvert. (Fr.) A shake with a closing turn, the prin- 
 cipal sound of which was followed by a sound one degree above. 
 Ex. 13, Sec. Ill is a tremblement ouvert. 
 
 Tremblement Pince. (Fr.) The word pinc^ virtually describes the 
 closing turn of a shake and is here the equivalent of Nachschlag. 
 Vide Sec. V par. 10. 
 
 Tremblement Prepare. (Fr.) The same as tremblement appuy^. (q. v.) 
 
 Tremblement Slmple. (Fr.) A shake without sounds of preparation 
 or of termination. 
 
 Tremblement Subit. (Fr.) A Xl^"^ century term indicating the perfor- 
 mance of a shake ex abrupto, usually approached by a disjunct 
 interval. 
 
 Tremolo. (It. s. m.) A term which originated in the shake. Hence 
 Tremblement. (q. v.) This meaning of the word was still in 
 evidence early in the 18^^ century, but it appears to have passed 
 to the German Bebung (Fr. balancement.) also. It is now used 
 in an altogether different and somewhat lax sense. The rapid 
 repetition of a sound upon any instrument, the alternate repeti- 
 tion of different positions ot me same chord, etc.; to all such 
 devices, the name Tremolo is given. 
 
 Tremoletto. (It. s. m.) A short shake. (Mezzo-Trillo. q. v.) 
 
 Tremula. (Med. Lat.) A term describing a sign used in neume nota- 
 tion which is supposed to have been the forerunner of the Bebung. 
 
 Trill. (A) The Shake. (B) [v.] To shake. 
 
 Trille. (Fr. s. m.) The shake. Vide Sec. Ill par. 1. 
 
 Triller. (Ger. s. m.) The shake. Vide Sec. Ill par 1. 
 
Triller.) 
 
 - 163 - 
 
 [Unterschlag. 
 
 Triller. Unterbrochener— A broken or intermittent shake. 
 Triller von Oben. (Ger.) The shake with preparation from above. 
 
 Vide Ex. 10, Sec. III. 
 Triller von Unten. (Ger.) The shake with preparation from below. 
 
 Vide Ex. 8, Sec. 111. 
 Trillfrkette. (Ger. s. f.) Chain of Shakes. Vide Sec. Ill par. 56. 
 Trillo. (It. s. m.) The shake. Vide Sec. Ill par. 1. It is curious to 
 
 note, that the original meaning of the words Irillo and tremolo 
 
 was exactly the converse of that ultimately belonging to them. 
 
 The tremolo of the early 17*^ century, was the shake; the tr.llo^ 
 
 the tremolo or Bebung. 
 Trillo Caprino. (It.) i. e. the Bockstriller. (q. v.) 
 Trillo del Diavolo. (It.) The name given to a series of shakes in 
 
 his Violin Sonata in G Minor by Tartini. (1692-1770.) 
 Trillo Mordente. (It.) An 18 century term applied to the shake ' 
 
 with a closing turn. Cf. tremhlement pinc^. 
 Triple Shake. Three simultaneous shakes. Vide Beethoven's Sonata 
 
 in C Op. 2 No. 3, last mov. 21 bars from end. 
 Turn. The well-known grace of the name. Vide Sec. II. 
 Turn'd Shake. An old term referring to the closing turn of a shake. 
 
 Purcell indicates it thus — 
 
 In the next century, the following sign is used thus approxi- 
 mating to the sign ultimately adopted by J. S. Bach. Vide Sec. Ill 
 par. 12. dementi's Symbols for the Turned Shake are four in 
 number, viz. 
 
 TuTT. A lute-grace akin to the French suspension (q. v.) but different 
 from the latter in that the last part of the sound was abbreviated. 
 As a lute-grace, it is the antithesis of the Pause, (q. v.) 
 
 iUMGEKEHRTE RoLLE. (Gcr. s, f.) i. 6. the inverted turn (Cf. Rolle) and 
 thus expressed by Tiirk (18*1^ cent.) (N. B. The little untimed note 
 in the example directs that the turn should start upon the main 
 sound. Cf. Sec. Ill par. 29.) 
 
 Unisson. (Fr. s. m.) This is not a grace but is included in Couperin's 
 somewhat heterogeneous list of such. It merely referred to the 
 fact that two sounds of the same pitch required the same key of 
 the clavecin and was indicated by the vertical stroke . 
 
 Umterschlag. (Ger. s. m.) A synonym of Ruckfall. (q. v.) 
 
 1 1 
 
Upper Mordent.] 
 
 [Zwischenschlag 
 
 Upper Mokdent. Vide Sec. IV par. 2. 
 
 Verke Casse. (Fr.) The tremolo and trillo (q. v.) of the Lute. 
 Verziert. (Ger. from versieren=io embeUish, to ornament) Ornamented, 
 embellished. 
 
 Verzierung. (Ger. s. f. pi. — en.) A musical grace. General term. 
 
 Vibrato. (It. s. m.) (A) A term apparentl}- limited to all those graces 
 in which the repetition of the same sound was the main feature. 
 The Close Shake of Simpson (q. v.) and the Bebung of the time 
 of J. S. Bach are pertinent examples of the Vibrato. (B) A tremu- 
 lous action of the voice much effected by singers. 
 
 VoLATA. (It. s. f.) A light passage sung to one breath or to one 
 S3ilable. 
 
 VoLATE. (Fr. s. f.) i. e. Volata. (q. v.) 
 
 VoLATiNA. (It. s. f.) A short passage after the manner of the Volata. 
 (q. V.) 
 
 VoLATixE. (Fr. s. f.) i. e. Volatina. (q. v.) 
 
 Vorausnahme. (Ger. s. f.) i. e. Anticipation, (q. v.) 
 
 Vorhalt. (Ger. s. m.) Literally, a suspension, but occasionally used 
 
 for the Vorschlag. 
 Vorschlag. (Ger. s. m.) The appoggiatura. Vide Sec. I par. 1. 
 VoRscHLEiFE. (Ger. s. f.) The preliminary sounds of a shake. Vide 
 
 Ex. 8, Sec. III. 
 
 Whole -FALL. The term applied by lutenists to the upward Slide of 
 
 three sounds. It was indicated by the cross +• 
 WiEDERSCHLAG. (Ger. s. m.) The Ribattuta. (q. v.) 
 ZiERAT. (Ger. s. m.) An ornament or erabeUishment. 
 ZiEREN. (Ger. V.) To embellish, to ornament. 
 
 Zlmbelo. (It. s. m.) The name given by the writer referred to in 
 
 Groppolo to a modified form of the Ribattuta. 
 ZuRtlcKSCHLAG. (Ger. s. m.) The Ribattuta. (q. v.) 
 Zusammenschlag. (Ger. s. m.) i. e. the pitied itoiiffi or acciaccatura. 
 
 (q. V.) 
 
 Z WIS CHENS CHL AG. (Ger. s. m.) An old name for the Nachschlag. 
 
I 
 
 I