Ornamentacion

Ornaments.
Until the early 19th century small notes extra to the value of the bar indicated several quite different
things. The meaning of such notation is (and was) often difficult to determine. Late 18th-century and
early 19th-century authorities drew attention to the scope for misunderstanding the intended execution
of small notes a 2nd above or below the note they precede. These might indicate any of three things:
notes taking a substantial portion of the one they precede (hereafter referred to as appoggiaturas);
notes tied to the one they precede and executed very quickly on or just before the beat (the term
‘grace note’ is used here with no necessary suggestion of pre-beat performance); or notes tied to and
taking time from the one they follow (anticipatory notes), which were common in the late 18th century
and throughout the 19th century in the context of trill endings and certain types of portamento.
During the late 18th and early 19th centuries there were particular problems in distinguishing between
the appoggiatura, which has an important harmonic function, and the grace note, which, because it
is performed so rapidly that neither the preceding nor the following note appears to lose any
significant value, has primarily an accentual or ornamental function. Theorists in the second half of the
18th century periodically suggested that small notes indicate the intended value of the appoggiatura. C.P.
E. Bach observed in 1753 that ‘people have recently begun to indicate such appoggiaturas according
to their true value’; among composers who began to do so during the second half of the century were
Gluck (from the time of his Paris operas), Haydn (from about 1762) and Mozart. Many other
composers were much more casual, especially Italians, who often did not trouble to indicate
appoggiaturas at all in places where the singer or instrumentalist might have been expected to supply
them. Confusion over this type of notation remained a serious problem for many at the end of the
18th century. In the fifth edition (1791) of Löhlein's popular Clavier-Schule, for instance, the editor, J.
G. Witthauer, having urged composers to indicate the length of appoggiaturas, concluded: ‘How
many pieces would then, at least with respect to the appoggiaturas, be less badly performed, and
how much trouble would be spared to the beginner!’
Where it was unclear from the notation whether an appoggiatura or a grace note was implied,
some theorists, notably Türk, attempted to assist the performer by providing examples of musical
contexts indicating grace note treatment. If it was decided that an appoggiatura was intended, and that
the given value was not a reliable indication of its intended length, the performer had to determine
what value to give it. Many 18th-century writers advanced general guidelines. The assertion that
an appoggiatura should normally take half a binary main note and two-thirds of a ternary main
note, promulgated in the mid-18th century by, among others, Tartini, Quantz, Leopold Mozart and C.P.
E. Bach, was widely repeated by 18th- and 19th-century theorists. Some musicians, including
Francesco Galeazzi and Bernhard Romberg, taught that before a ternary note the appoggiatura should
take only a third of the value of the main note; others such as Clementi allowed it to take either a third
or two-thirds of a dotted note according to context. Many theorists, following Bach, Mozart and Quantz,
felt that an appoggiatura before a tied note, or a note followed by a rest, should take the full value of
the note before which it stood, though it was admitted that the resolution on to a rest might not always
be permitted by the harmony. Indeed many theorists, having articulated their guidelines, cautioned that
the length of appoggiaturas, which by their very nature required a rhythmically unconstrained delivery,
might often be conditioned by the expression or by the exigencies of the harmony.
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Ornaments.
By the end of the 18th century Türk and other theorists were arguing that it would be better to
incorporate all appoggiaturas into full-size notation, leaving small notes to indicate grace notes.
Beethoven's practice illustrates this changing attitude; he very rarely used small notes to
indicate appoggiaturas (except in vocal music), reserving them principally for grace notes. Others,
however, resisted that approach on the grounds that the notation of appoggiaturas with small notes was
the most appropriate way of eliciting the special manner of performance they required, through
either accentuation, flexible length or ornamental resolution (or a combination of these). H.C.
Koch (‘Vorschlag’, Musikalisches Lexikon, 1802) articulated this clearly when he remarked that the
reason for notating appoggiaturas as ornaments
has its origin in the particular and exceptional manner in which the appoggiatura is performed. Namely
… one should markedly bring out the appoggiatura itself by means of a particular accent, or sound it with
a certain rapid swelling of the strength of the note: and then slur the following melodic main note to it
softly or with decreased strength.
A variety of ornamental resolutions is indicated by musicians as different in time and background
as Domenico Corri and Baillot (ex.98).
In the case of an appoggiatura on the major or minor 2nd below the main note, some singing
tutors, including Corri and Lanza, considered that in contrast to the falling appoggiatura it should
be delivered with increasing strength, so that the main note received the greater accent.
When, in late 18th- and early 19th-century scores, an appoggiatura on the 2nd above or below is
found before a pair of notes with a strong–weak metrical stress which are of equal length and on the
same pitch, it seems clear that the appoggiatura was meant to take the whole length of the note
before which it stood. This practice can be found at least as early as the 1760s and as late as the
1820s, but apparently it was not discussed at the time by theorists. In a letter of 1768, however,
Ornaments.
Haydn specifically stated that in such cases the realization of ex.99a should be as in ex.99b, not as
in ex.99c. This treatment can also be found in Corri's realization of J.C. Bach's ‘Nel partir bell’idol mio' in
A Select Collection. It was clearly intended, too, in Schubert's operas, as indicated by comparison of
the vocal part with the orchestral parts (ex.100). Interestingly, Schubert consistently gave the
appoggiatura half the value of its intended realization. A similar usage is found in Weber (perhaps
deriving from his lessons with Michael Haydn), for instance in Der Freischütz.
This notation, confined largely to German composers, raises the broader question of how such pairs
of notes on the same pitch should be treated when they have no indication for an appoggiatura.
Crutchfield (J1989) has argued persuasively that an appoggiatura of some kind is appropriate
almost always in recitative and often in arias. The practice was so well known that Italian composers
in particular rarely troubled to notate appoggiaturas in such circumstances, and if a composer wanted
the music sung as notated he would have to specify it, as Verdi did in Rigoletto (no.13). The preservation
of this tradition among 19th-century artists is demonstrated by early recordings. Charles Santley
(1834–1922), for instance, added appoggiaturas, as well as other ornamentation, in both recitative and
aria in his recording of Mozart's ‘Non più andrai’.
By the second quarter of the 19th century the use of small notes to indicate appoggiaturas of the
above types was fast disappearing. Where single small notes were still employed they were intended to
be performed very rapidly as grace notes on or just before the beat. A sign of changing practice in
this respect is Philip Corri's treatment of the matter in his L'anima di musica (1810), where, reversing
Türk's approach, he instructed readers to assume that small notes represented grace notes except in
a limited number of circumstances, of which he gave examples. In later treatises discussion
of appoggiaturas was largely intended as an aid to the performance of older music, which formed
an increasingly large proportion of the contemporary repertory. By the middle of the 19th century the
now customary notation of grace notes was widespread.
General rules for an appropriate manner of grace note performance in any given period are impossible
to formulate. Practice varied from time to time, place to place and individual to individual. The matter is
also complicated by wider questions of historical performing practice in respect of tempo rubato,
rhythmic freedom in general and, particularly, the practice in keyboard music of playing the left hand
Ornaments.
before the right. For such reasons a simplistic rule of on or before the beat, grafted on to an
otherwise ‘modern’ style of playing, is essentially meaningless. During the Classical period
German authorities generally taught that in most if not all circumstances grace notes should be
performed on the beat (i.e. against the bass note that pertained to the main note before which the
grace note stood). Milchmeyer's Die wahre Art das Pianoforte zu spielen (1797) was among the few
late 18th-century German sources to recommend a pre-beat conception of grace notes as the norm.
Pre-beat performance, especially in the context of tierces coulées, was commonly associated with
what Türk called the ‘French style or the so called Lombard Taste’. Leopold Mozart recognized
the possibility that ex.101a could imply pre-beat performance, but considered that the composer
would specify this more clearly by writing it out as in ex.101b. Löhlein's explanation of the similar figure
in ex.102a, in his Anweisung zum Violinspielen, as indicating anticipatory notes (ex.102b) was ‘corrected’
to ex.102c in Reichardt's 1797 edition of the treatise. There was always a degree of ambiguity in
such circumstances.
Throughout the 19th century German writers continued predominantly to instruct that grace notes should
be performed on the beat, as did many theorists of other nationalities. Although there was no
unanimity among late 18th-century and 19th-century musicians as to whether the grace note or the
main note should receive the greater accent, the majority – with the notable exception of Hugo Riemann
– seem to have favoured the latter conception. In particular instances there was always the possibility
of disagreement. Edward Dannreuther, for example, considered that the small note in bar 3 of Schubert's
A Moment musical op.94 ex.103a was ‘meant for a Nachschlag’, and illustrated it as in ex.103b;
while Riemann in his annotated edition of the work indicated an accented performance on the
beat (ex.103c). Among musicians on whom French influence was strongest, however, a pre-
beat conception not only of grace notes but also of ornaments of two or more notes, which in the
German tradition were still widely regarded as occurring on the beat, seems to have been the norm. In
1840 Fétis and Moscheles observed in the Méthode des méthodes pour piano:
Acciaccaturas, slides and groups of two or three notes are placed immediately before the principal note.
In the old school it was understood that they should share in the time of the principal note, but they are
now to be played quickly and lightly before the time of the large note.

Ornaments.
It was not, though, merely a question of nationalities. The German violinist and pedagogue Andreas
Moser, writing at the beginning of the 20th century, supported a pre-beat conception in many cases
and considered that preference for a pre-beat or on-beat conception of grace notes was largely
determined by the nature of different instruments. He observed that even at that time ‘there were the
most contradictory opinions among practical musicians’ (Violinschule, iii, 28), noting that keyboard
players still tended to favour placing grace notes firmly on the beat while the majority of singers and
string players anticipated them, and he suggested that this had been the case continuously since the
mid-18th century. Although this view was probably shared by Joseph Joachim, whose direct
experience went back to the 1830s, documentary evidence suggests that, in theory at least, the
French–German split was as strong among violinists as among keyboard players in the mid-19th
century: Spohr explicitly required on-beat performance, while Baillot envisaged the performance of
grace notes before the beat.
Nevertheless, in practice this theoretical distinction may have mattered little if the grace note was
performed quickly and lightly, as the vast majority of writers said it should be. Where concrete evidence
for the performance of grace notes exists, such as barrel organs or, at the end of the 19th
century, recordings and piano rolls, it is often difficult to determine whether in particular instances a
grace note occurs on or before the beat.
Ornaments, §9: Late 18th century and the 19th
(ii) Trills, turns and related ornaments.
The elaborate systems of ornament signs developed by 18th-century keyboard players was not
widely adopted, even in keyboard music, during the Classical period. For other instruments
composers rarely employed anything but ‘tr’, the mordent sign and various forms of turn sign, the
most common being those shown in fig.3. Only the last four were normally found in printed music. The
sign ‘tr’ usually indicated a trill with a number of repetitions of the upper auxiliary, while the mordent
Ornaments.
sign indicated only one or two repetitions (depending whether it began with the auxiliary); however, each
of these signs was sometimes used with the meaning usually applicable to the other. The various forms
of turn sign cannot reliably be related to particular melodic and rhythmic patterns; sometimes they too
could be synonymous with ‘tr’, and in manuscript sources the distinction between fig.3a and fig.3d or 3e
is often unclear.
During the 19th century, as composers became concerned to take greater control of their music,
they increasingly wrote out ornaments in full. The progression is neatly illustrated by Wagner's turns: up
to Lohengrin he used signs, but in Tristan and his later operas he always incorporated the turns into
the notation. Inverted mordents were often indicated either by small notes or in normal notation, and
even trills were sometimes fully notated, for instance by Dvořák (op.106) and Tchaikovsky (opp.64 and 74).
Considerable controversy has been generated by the question of how trills in music from the period 1750
to 1900 should begin. Scholarship has clearly shown that, although the upper-note start was never quite
as self-evident as advocates such as C.P.E. Bach implied, it was undoubtedly the dominant practice in
the mid-18th century. When and where a general preference for a main-note start began to emerge
remains uncertain. Moser identified the strongest support for the upper-note start as being in
north Germany; he asserted, however, that in Mannheim the trill was to begin from above only if
specifically notated, and that C.P.E. Bach's authority was countered by ‘the powerful influences
which stemmed from the Viennese masters of instrumental music’ (Violinschule, iii, 19–20). What
evidence Moser may have possessed for this statement, other than received tradition by way of
Joachim, remains unclear. Certainly, a considerable number of the trills on the musical clocks from
the 1790s containing Haydn's Flötenuhrstücke begin on the main note, but there is no consistency and
no connection with Haydn's notation. Arguments for and against Mozart's preference have been
advanced, and the matter has been exhaustively examined by Neumann (J1986). For Beethoven, too,
the evidence is largely circumstantial. In 1828, however, Hummel published his unambiguous opinion that
a main-note start should be the norm, and Spohr followed suit a few years later. Baillot offered four
different beginnings without recommending the primacy of any. Some 19th-century composers took
trouble to indicate the beginnings of trills, particularly to show a start from below, and their manner of
doing this was used by Franklin Taylor in 1879 as evidence for their normal practice. It seems probable
that among major 19th-century composers Weber, Chopin and Mendelssohn generally favoured an
upper-note start. In this as in other aspects of performance, however, dogmatism and rigidity
are undoubtedly out of place.
Trill endings were subject to much variation. By far the most usual was the two-note ending; in
1776 Reichardt, for instance, recommended that if no trill ending was marked orchestral players
should automatically employ this type of suffix, and many musicians throughout the period considered
this the default ending. In solo performance, on the other hand, more elaborate endings might
commonly have been expected to be improvised until at least the middle of the 19th century, regardless
of what a composer indicated.
The expressive effect of a turn depends on its position in the melody, its rhythmic configuration, its
melodic shape and the speed with which it is executed. The relationship between the turn and the trill
Ornaments.
has always been close. C.P.E. Bach considered that the two ornaments were interchangeable in
many instances. Most 18th-century authors stated that turns should be performed quickly, but a variety
of speeds, depending on context, would certainly have been employed by musicians throughout the
period. In general, turns, along with other short ornaments, would have been added at will by 18th-
and early 19th-century performers, and they remain appropriate as improvised embellishment in some
later 19th-century repertories, especially Italian vocal music. In the 19th century, just as there was a
greater tendency for trills to begin with the principal note, there is evidence that in some
circumstances performers may have been increasingly inclined to start turns with the main note.
With respect to the positioning of accenting turns on or before the beat, many of the same factors apply
as in the case of the grace note; the majority of authorities favoured on-beat performance, but
some advocated performance before the beat. The turn in ex.104a might have been executed in any of
the ways shown in ex.104b–f. The form of turn for which Leopold Mozart used the conventional
German term Doppelschlag (he used Mordent for the accenting turn) was clearly considered by him as
a connecting ornament, its principal use, both in its direct and inverted forms, being as an
extempore embellishment to an appoggiatura (ex.105); the same usage was still illustrated in the
19th century by Campagnoli. In the revised 1787 edition of his treatise Mozart also showed it as a
simple connection between two conjunct or leaping notes (ex.106).

Ornaments.
These patterns were standard, varying slightly from author to author in their exact rhythmic
configuration and placement. In the 18th century it seems to have been generally accepted that
the connecting turn, like the accenting turn, would be performed rapidly, and this remained true for
many 19th-century musicians. There was, however, a growing tendency towards the middle of the
century to execute some turns in a more leisurely manner. In the 1830s A.B. Marx thought that the
turn should be ‘performed in moderately fast or even fast tempo’. Near the end of the century
Dannreuther recorded:
The turn in Bellini's cantilena, both andantino and largo, was sung in a very broad way, so the notes
formed part of the principal phrase, just as it is now to be found written out and incorporated in
Wagner's Tristan. The ornamental notes, resembling a turn at the end of a long breath, were always
given piano, diminuendo, leggiero as in Chopin (ex.107).
A number of 19th-century authorities, including Romberg and Marx, mentioned the possibility that a
direct turn sign might equally well invite an inverted turn, depending on the musical context.
Uncertainty about the implications of turn signs even extended to Wagner's music, and on
various occasions in Rienzi and Tannhäuser (in the latter case at the composer's instigation in 1875)
direct turn signs were interpreted as inverted turns.
In addition to the major classes of notated ornaments (which throughout much of the period might well
have been introduced where they were not written) there were others that were only occasionally
notated, though very frequently employed. Chief among these were vibrato, portamento and arpeggiando.
A few composers marked vibrato with dots under a slur or by various accent signs under slurs (which
in string playing probably indicated an unmeasured bow vibrato or portato), as well as with a wavy
line (ex.108a–c). The crescendo–diminuendo sign, in connection with a single note of shorter value
was also used by many composers to invite, if not to instruct, string players to make an ornamental
vibrato, as explained in the Joachim and Moser Violinschule. Portamento was sometimes called for by
a verbal instruction, but 19th-century composers often implied its use either by fingerings (in string
playing), by grace notes that were separated from their main notes by more than a tone, or by slurs
(this may sometimes be the meaning of slurs between syllables in vocal music). Arpeggiando
was frequently marked in keyboard music by the conventional signs, though many 19th-century
composers indicated it in small notation. Arpeggiando signs or notation were probably intended to
prevent its omission in places where it was vital to the expression; however, players throughout the
period would have been expected to use it ad libitum in a range of contexts that were explained by
many theorists.

Ornaments.
Ornaments
10. 20th century.
The study of ornaments and their manner of execution since the beginning of the 20th century has
been predominantly a matter of charting different responses to the challenge of performing a
historical repertory. The conditions of this study are fundamentally different from those of
previous centuries, for although mechanical instruments preserve aspects of earlier practice
the development of recording allows us to hear precisely how ornaments were applied and executed
by individual performers. The continuing trend towards a literal interpretation of the composer's
notation, which began during the 19th century, has sometimes led to profoundly unhistorical approaches
to older repertory. In the first decades of the century a tradition of extensive improvised ornamentation
in certain types of vocal music continued. Recordings of Rossini's ‘Una voce poco fa’ by such singers
as Marcella Sembrich, Amelita Galli-Curci and Luisa Tetrazzini, for instance, involve much
additional ornamentation, most of which is individual to the singer concerned. By the second half of
the century such practices were regarded as unwarrantable liberties, and in Teresa Berganza's
1972 recording, for example, the aria is sung with virtually no modification of Rossini's text. The
obsession with fidelity to the notation even led, in the middle decades of the century, to a
widespread abandonment of the prosodic appoggiaturas that had earlier been taken for granted in
vocal music. With the growing interest in historical performance during the later decades of the
century, performers began to reintroduce these appoggiaturas, though they are still not employed as
widely as they would have been at the beginning of the 20th century. As late as 1986 Neumann argued
for the literal performance of many passages in Mozart, where the composer would almost certainly
have expected his singers to employ appoggiaturas. The interpolated portamentos, involving the insertion
of grace notes, that were still considered a mark of fine singing in the late 19th century, and can be
heard on early recordings, disappeared during the early decades of the century and were not revived.
In mid-20th-century string playing and singing portamento was used ever more sparingly and
discreetly, and came in due course to be regarded as thoroughly tasteless. Little attempt was made
to reintroduce portamento as an aspect of historical performance, despite abundant evidence for its
integral role in many repertories. It is otherwise with vibrato. Although the notion of vibrato as an
ornament can still be found in Leopold Auer's Violin Playing as I Teach it (1921) and Henry Wood's
The Gentle Art of Singing (1927), the concept of continuous vibrato as an essential aspect of
tone production had, in practice, made that notion largely irrelevant by the time Siegfried
Eberhardt advocated continuous vibrato as the secret of a fine tone in Der beseelte Violin-Ton in
1910. Styles of continuous vibrato changed considerably during the 20th century, and it remains a
standard aspect of most modern performance. Despite the untenable claims of Donington and others
that continuous vibrato has always been an integral aspect of tone production in singing and string
playing, many early music performers in the late 20th century revived an ornamental approach to
Ornaments.
vibrato within a basically vibrato-less tone, and their example influenced modern performances of
repertory from the 18th century. But there is still a widespread fallacy among performers that
from Beethoven onwards a full-blooded continuous vibrato is stylistically appropriate.
The 20th century produced many studies of historical performing practice. In the first half of the
century these had relatively little influence on the practices of professional musicians. In the second half
of the century there was growing interest in traditions with which performing musicians have entirely
lost contact; but it is an intrinsically hazardous business to try to unravel the relationship between
written texts and aural phenomena, and scholarly studies of ornamentation have tended to
breed controversy. The third quarter of the 20th century saw particularly passionate debate about
such issues as when trills ought to start with the upper note and whether grace notes should precede
or coincide with the beat, and the influence of personal taste on all sides of the argument has
sometimes been stronger than scholarly detachment. However, recent studies of historical recordings
(now more widely available, in transfers to CD, than before) have spread awareness of the mutability
of musical taste, the diversity of practice and the scope for alternative aesthetics of performance. In the
light of such experience there seems to be a growing appreciation that by their very nature ornaments
are flexible, and that seeking hard and fast solutions in particular cases is often not only unrealistic
but unhistorical.
Ornaments
11. Index to ornaments and table of signs.
The numbers are those of the sections above in which the ornaments are discussed.
Accent: (springer), 7; (appoggiatura), 8
Accent und Trillo (prepared trill), 8
Accento, 1, 4, 8
Accentuirte Brechung (broken chord with passing note), 8
Acciaccatura, 5, 8, 9
Acute (springer), 6
Aleado (mordent), 2
Anschlag (double appoggiatura), 8
Anticipazione della nota (passing note), 8
Anticipazione della syllaba (passing note), 8
Apoyamento (appoggiatura), 2
Appoggiatura, 5, 9, 10
Appuy (appoggiatura), 7
Ardire (?vibrato), 8
Arpeado, 2
Arpégé, 7
Arpeggiando, 9
Aspiration: (curtailed note), 7; (springer), 7; (vibrato), 7Backfall: (descending appoggiatura), 6; backfall
and shake, 6; double backfall (slide), 6
Ornaments.
Balancement: (tremolo), 7; balancement de main (vibrato), 7

Batement: (vibrato), 7; battement (mordent), 7; battements (trill), 7
Battery (broken chord), 6
Beat, 6
Bebung (vibrato), 8
Bombus (repeated note), 8
Brechung (broken chord), 8Cadence: (trill), 7; (turn), 8
Cadence coupée, 7
Cadent (note of anticipation), 6
Cadenza, 5
Cascata, 4
Cercar la nota (passing note), 8
Cheute (appoggiatura), 7
Circolo, circolo mezzo (turn), 8
Clamatione (portamento), 1
Coulé: (appoggiatura), 7; (slide), 7
Coulement (appoggiatura), 7
Crescere e scemare di voce, 4 Détaché (curtailed note), 7
Diminution, disminucion (ornamental division), 2, 5
Doppel-Cadenz (trill commencing with turn, or trill with turned ending), 8
Doppelschlag (turn), 8, 9
Doublé (turn), 7
Double cadence: (turn), 7; (compound trill), 7
Double cadence coupée, 7
Double cadence sans tremblement (turn), 7
Doublement du gosier, 7
Double relish, 6
Duplex longa florata, 1 Einfall (appoggiatura or passing note), 8
Elevation (slur), 6
Esclamazione: (strengthening of the relaxed voice), 4; (ascending passing note at end of main note), 8
Esmorsata, 2
Exclamatio, 8
Extrasino (vihuela portamento), 2Fermo, 5
Flaté, flatté, flattement (vibrato), 7
Florificatio vocis (trill), 1
Flos harmonicus (trill), 1
Forefall: 3, 6; forefall and shake, 6 Gedoppelter Accent, 8
Glosa, 2
Groppo, grup, gruppo (trill, often with turn), 1, 4, 6, 8Halbtriller (short, snapped trill), 8
Half-fall (appoggiatura), 6
Harpègement, 7
Ornaments.
Harpeggio, 8 Intonazione, 4, 8Kette von Trillern (chain of trills), 8Langueur (vibrato), 7

Liaison: (tie), 7; (slur), 7
Longa florata, 1Martellement (mordent), 7
Messa di voce, 4, 5
Mordent, Mordant, mordente, 2, 5, 8, 9 Nachschlag, 8, 9
Nota procellaris (?vibrato), 1 Pasaje (ornamental divisions), 2
Passaggio (ornamental division), 1, 4, 8
Pincé: (vibrato), 7; (mordent), 7
Pincement (mordent), 7
Plainte (vibrato), 7
Portamento, 5, 9, 10
Portar la voce, 4
Port de voix (appoggiatura), 7
Port de voix coulée, 7
Prallender Doppelschlag (trilled turn), 8
Pralltriller (short, snapped trill), 8 Quiebro: (trill), 2; (mordent), 2 Raking play (form of lutenists’
broken chord), 6
Redoble: (ornamental division), 2; (trill), 2
Relish: single relish (variously a turn and a trill), 6; double relish, 6
Repicco, 4
Reverberatio (appoggiatura), 1
Ribattuta, 4, 8
Roulade: (appoggiatura), 6; (‘trilling’ or ‘quavering’), 6; single roulade (backfall), 6; double roulade
(double backfall or slide), 6Schleifer (slide), 8
Schneller (inverted single mordent), 8
Shake: 3, 5, 6; close shake (vibrato), 6; open shake, 6; plain note and shake, 6; plain shake
(reiterated note), 6; shake turned, 6
Sigh (springer), 6
Single relish, 6
Slide, 3, 6, 7, 8, 9
Slur, 6
Son coupé (curtailed note), 7
Son filé, 7
Springer, 6
Sting (vibrato), 6
Strascino, 4
Stroke, 3
Supposition, 7
Suspension (truncated note), 7Temblor, 2
Tenuë (tie), 7
Tierce coulé, 7, 9
Ornaments.
Tirata (scale-like embellishment), 8

Tombé (descending appoggiatura), 7
Tour de chant (inverted mordent), 7
Tour de gosier (turn), 7
Tremble (bow vibrato), 6
Tremblement: (trill), 7; tremblement mineur (vibrato), 7; tremblement sans appuyer (De Machy; vibrato),
7; tremblement et pincé (trill with turned ending), 7; tremblement ouvert (trill resolving upwards),
7; tremblement fermé (trill resolving downwards), 7; tremblement continu (oscillates for a few bars), 7
Tremoletto: (trill), 8; (mordent), 8
Tremolino (repeated note), 4
Tremolo: (mordent), 1, 8; (repeated note), 4; (trill), 1, 4, 8; (vibrato), 8
Tremolo d’un tasto solo (mordent), 1
Trill, 5, 6, 7, 8, 9, 10
Triller: (trill), 8
Trilletto (vibrato), 8
Trillo: (trill), 4, 8; (repeated note), 4, 5, 8; (vibrato), 8; Trillo und Mordant (trill with turned ending), 8
Trinado, trino (trill), 2
Turn, 5, 6, 7, 8, 9
Tut (curtailed note), 6 Vibrato (as ornament), 5, 6, 7, 8, 9, 10
Vorschlag: (appoggiatura or passing note), 8; unveränderlicher Vorschlag (invariable or
short appoggiatura), 8; veränderlicher Vorschlag (variable or long appoggiatura), 8Wholefall (slur), 6

Ornaments.

Ornaments.
Ornaments
BIBLIOGRAPHY
A General. B Middle Ages and Renaissance. C Spain, 1500–1800. D English virginalists. E Italy, 1600–
50. F Italian late Baroque. G English Baroque. H French Baroque. I German Baroque. J After 1750.
a: general
b: middle ages and renaissance
c: spain, 1500–1800
d: english virginalists
e: italy, 1600–1650
f: italian late baroque
g: english baroque
h: french baroque

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Ornaments.

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Balancement: (tremolo), 7; balancement de main (vibrato), 7

Harpeggio, 8 Intonazione, 4, 8Kette von Trillern (chain of trills), 8Langueur (vibrato), 7

Tirata (scale-like embellishment), 8

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b: middle ages and renaissance

f: italian late baroque

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