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1320:(by Ortiz, in both Spanish and Italian) – a way to decorate a simple cadence or interval with extra shorter notes. These start as simple passing notes, progress to step-wise additions and in the most complicated cases are rapid passages of equal valued notes – virtuosic flourishes. There are rules for designing them, to make sure that the original structure of the music is left intact. Towards the end of this period the divisions detailed in the treatises contain more dotted and other uneven rhythms and leaps of more than one step at a time.
1635:
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1755:(a percussive sound, notated by an "X"), "doit" notes and "fall" notes (annotated by curved lines above the note, indicating by direction of curve that the note should either rapidly rise or fall on the scale), squeezes (notated by a curved line from an "X" to a specific pitch, that denotes an un-pitched glissando), and shakes (notated by a squiggly line over a note, which indicates a fast lip trill for brass players and a minor third trill for winds).
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which is about oscillating a note in diverse ways by varying amplitude, speed or number of times the note is oscillated. This is a highly subtle, yet scientific ornamentation as the same note can be oscillated in different ways based on the raga or context within a raga. For instance, the fourth note
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Sometimes it is expected that the trill will end with a turn (by sounding the note below rather than the note above the principal note, immediately before the last sounding of the principal note), or some other variation. Such variations are often marked with a few grace notes following the note that
1080:
Whether the note should be played before or on the beat is largely a question of taste and performance practice. Exceptionally, the acciaccatura may be notated in the bar preceding the note to which it is attached, showing that it is to be played before the beat. The implication also varies with the
1165:
in German) instructs the performer to begin one or two diatonic steps below the marked note and slide upward. The schleifer usually includes a prall trill or mordent trill at the end. Willard A. Palmer writes that "he schleifer is a 'sliding' ornament, usually used to fill in the gap between a note
444:
1593:
take on a different meaning. Most ornaments occur on the beat, and use diatonic intervals more exclusively than ornaments in later periods do. While any table of ornaments must give a strict presentation, consideration has to be given to the tempo and note length, since at rapid tempos it would be
897:
886:) is one degree higher or lower than the principal note, and may or may not be chromatically altered. Appoggiaturas are also usually on the strong or strongest beat of the resolution, are themselves emphasised, and are approached by a leap and left by a step in the opposite direction of the leap.
471:
expressed no preference and observed that it was scarcely a matter of much importance whether the trill began one way or the other, since there was no audible difference after the initial note had been sounded." Clive Brown writes that "Despite three different ways of showing the trills, it seems
735:
consisting of the note above the one indicated, the note itself, the note below the one indicated, and the note itself again. It is marked by a backwards S-shape lying on its side, sometimes known as an "inverted lazy S", above the staff. The details of its execution depend partly on the exact
1750:
or as written ornaments. While these ornaments have universal names, their realizations and effects vary depending on the instrument. Jazz music incorporates most of the standard "classical" ornaments, such as trills, grace notes, mordents, glissandi and turns but adds a variety of additional
1654:
observed, "pieces in which all ornaments are indicated need give no trouble; on the other hand, pieces in which little or nothing is marked must be supplied with ornaments in the usual way." Clive Brown explains that "For many connoisseurs of that period the individuality of a performer's
436:
1783:
Another important gamaka in
Carnatic is the "Sphuritam" which is about rendering a note twice but forcefully from a grace note immediately below it the second time. For instance, the third note (Ga) would be rendered plain first time and with a force from the second (Ri) the next time.
905:
1670:
from Mozart onwards that still remains in the repertoire belongs to the kind in which every note is thought out and which tolerates virtually no ornamental additions of the type under consideration here..." Recent scholarship has however brought this statement in question.
334:, while other ornamentations may be appended to the score in small notes, or simply written out normally as fully sized notes. Frequently, a composer will have his or her own vocabulary of ornaments, which will be explained in a preface, much like a code. A
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768:
An inverted turn (the note below the one indicated, the note itself, the note above it, and the note itself again) is usually indicated by putting a short vertical line through the normal turn sign, though sometimes the sign itself is turned upside down.
1816:
or a player of another instrument may add grace notes (known as 'cuts' / 'strikes' in Irish fiddling), slides, rolls, cranns, doubling, mordents, drones, trebles (or birls in
Scottish fiddling), or a variety of other ornaments to a given melody.
882:) is an added note that is important melodically (unlike an acciaccatura) and suspends the principal note by a portion of its time-value, often about half, but this may be considerably more or less depending on the context. The added note (the
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764:
The exact speed with which a turn is executed can vary, as can its rhythm. The question of how a turn is best executed is largely one of context, convention, and taste. The lower and upper added notes may or may not be chromatically raised.
1206:
1185:
695:
may have sometimes been executed with more than one alternation between the indicated note and the note below, making it a sort of inverted trill. Mordents of all sorts might typically, in some periods, begin with an extra
595:, a composer intended the direction of the additional note (or notes) to be played above or below the principal note written on the sheet music varies according to when the piece was written, and in which country.
1231:) translates, literally, to “after-beat”, and refers to "the two notes that sometimes terminate a trill, and which, when taken in combination with the last two notes of the shake, may form a turn." The term
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music incorporates a wide variety of ornaments including many of the classical ones mentioned above as well as a number of their own. Most of these ornaments are added either by performers during their solo
1207:
1186:
2230:
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1615:
186:), but serve instead to decorate or "ornament" that line (or harmony), provide added interest and variety, and give the performer the opportunity to add expressiveness to a
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In the late 18th and early 19th century, there were no standard ways of performing ornaments and sometimes several distinct ornaments might be performed in a same way.
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alongside the divisions. These have a lot more rhythmic interest and are filled with affect as composers took much more interest in text portrayal. It starts with the
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1921:
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difficult or impossible to play all of the notes that are usually required. One realisation of some common
Baroque ornaments is set in the following table from the
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refers to the “shaken” or trilled version of the ornament, while the second definition refers to the “smooth” version. This ornament has also been referred to as a
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619:
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1992:
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1876:
1204:
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1608:
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chords, either a tone or semitone below the chord tone, struck simultaneously with it and then immediately released. Hence the German translation
1898:
2214:
1205:
1184:
620:
155:
804:
1268:] part of its sound to the note following... whose following Quaver is Placed with the ensuing Note, but played with the same Bow."
1235:
may also refer to “an ornament that took the form of a supplementary note that, when placed after a main note, “steals” time from it.”
1775:(which means "to move") is used to denote ornamentation. One of the most unusual forms of ornamentation in world music is the Carnatic
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2088:
1724:
1702:
805:
282:
260:
119:
53:
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inessential note may or may not be chromatically raised (that is, with a natural, a sharp, or even a double sharp) to make it one
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or chromatic notes (depending on instrument and context) are heard, albeit very briefly. In this way, the glissando differs from
400:, also known as a "shake", is a rapid alternation between an indicated note and the one above it. In simple music, trills may be
315:
player performing a simple melodic line was expected to be able to improvise harmonically and stylistically appropriate trills,
1780:(Ma) in Shankarabharanam or Begada allows at least three to five types of oscillation based on the phrasings within the raga.
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2343:
1967:
1706:
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100:
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307:, for instance, would sing the melody relatively unornamented the first time and decorate it with additional flourishes and
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1395:
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908:
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587:. Practice, notation, and nomenclature vary widely for all of these ornaments; that is to say, whether, by including the
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1930:
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1048:, an acciaccatura is usually performed before the beat and the emphasis is on the main note, not the grace note. The
1440:
346:. Alternatively, the term may refer more generally to any of the small notes used to mark some other ornament (see
144:
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46:
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The exact interpretation of this will vary according to the tempo of the piece, but the following is possible:
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2293:"Traditional Music: Ceol Tráidisiúnta: Melodic Ornamentation in the Connemara Sean-Nós Singing of Joe Heaney"
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mordent. Although mordents are now thought of as a single alternation between notes, in the
Baroque period a
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3032:
1797:
1663:
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In the late 18th century, when performers played a trill, it always started from the upper note. However, "
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1404:
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401:
3143:
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1601:
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535:(which may also indicate a trill); the lower mordent is the same with a short vertical line through it.
296:
1040:, where the delay of the principal note is quick. It is written using a grace note (often a quaver, or
141:
1666:'s compositions, ornaments not included in the score are not allowed, as Brown explains: "Most of the
1324:
472:
likely that a trill beginning with the upper note and ending with a turn was envisaged in each case."
178:
are musical flourishes—typically, added notes—that are not essential to carry the overall line of the
2838:
2636:
2446:
1805:
1659:
1135:(especially in avant garde pieces), a glissando tends to assume the whole value of the initial note.
1634:
1285:'s treatise in 1535 we have instructions and examples of how musicians of the Renaissance and early
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A passage with two phrases ending in appoggiaturas, followed by these phrases without them (160 KB)
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As with the trill, the exact speed with which a mordent is performed will vary according to the
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1801:
1662:'s work, however, there should not be any additional ornament added from a performer. Even in
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1347:
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and early
Baroque. Trilling on a single note is particularly idiomatic for the bowed strings.
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in
English Baroque performance practice. Instruction books from the Baroque period, such as
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980:
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835:
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is a note written in smaller type, with or without a slash through it, to indicate that its
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Passaggi per potersi essercitare nel diminuire (1592); edition with preface by Bruce Dickey
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2823:
2739:
2542:
2517:
2439:
2417:
1747:
1501:
1021:, "to crush". In the 18th century, it was an ornament applied to any of the main notes of
933:
658:
330:. A number of standard ornaments (described below) are indicated with standard symbols in
1650:
In the 19th century, performers were adding or improvising ornaments on compositions. As
1329:
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prefixed to a principal note and printed in small character, without the oblique stroke:
1115:
is a slide from one note to another, signified by a wavy line connecting the two notes.
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17:
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Ornamentation in
Baroque and Post-Baroque Music, with Special Emphasis on J. S. Bach
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as shown in the examples here. The same applies to trills, which in the
Baroque and
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1971:
1655:
embellishment of the divine notation was a vital part of the musical experience."
1293:
spoke warmly of musicians' "sundry good and merry pranks with little runs/leaps".
803:
618:
531:), and the indicated note again. The upper mordent is indicated by a short thick
217:
in a piece of music can vary from quite extensive (it was often extensive in the
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of the piece, but, at a moderate tempo, the above might be executed as follows:
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201:
There are many types of ornaments, ranging from the addition of a single, short
35:
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2223:
1752:
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820:
724:"Gruppetto" redirects here. For the group of cyclists behind the peloton, see
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339:
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202:
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1625:
Another realisation can be seen in the table in Pièces de clavecin (1689) by
511:
is a rapid alternation between an indicated note, the note above (called the
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3047:
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as an ornament in which "a Note is sometimes graced by joyning [
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327:
206:
2316:
2292:
2923:
2906:
2881:
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2851:
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2037:. Vol. 2 (11th ed.). Cambridge University Press. p. 225.
1830:
1709: in this section. Unsourced material may be challenged and removed.
1365:
1286:
667:
508:
502:
485:
374:
316:
267: in this section. Unsourced material may be challenged and removed.
183:
2119:
1334:(1589), the treatises bring in a new set of expressive devices called
1149:
404:, using just the notes of the scale; in other cases, the trill may be
194:. Many ornaments are performed as "fast notes" around a central, main
2938:
2876:
2803:
2631:
2626:
2547:
2532:
2462:
588:
350:
below), or in association with some other ornament's indication (see
300:
179:
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2026:
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2798:
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1633:
1611:
1606:
1202:
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1148:
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167:
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221:, from 1600 to 1750) to relatively little or even none. The word
2646:
1742:
1089:'s long appoggiaturas are – to the eye – indistinguishable from
187:
2583:
2435:
2231:
Centre for
Research in the Arts, Social Sciences and Humanities
1678:
1264:
966:
862:
236:
29:
1296:
Until the last decade of the 16th century the emphasis is on
992:
989:
948:
440:
At a moderate tempo, the above might be executed as follows:
785:
600:
1514:
Regole, passaggi di musica, madrigali e motetti passaggiati
1312:("throat", first used as a term for vocal ornamentation by
998:
969:
963:
957:
942:
865:
859:
853:
838:
1792:
Ornamentation is a major distinguishing characteristic of
850:
847:
736:
placement of the turn mark. For instance, the turns below
460:
In
Baroque music, the trill is sometimes indicated with a
2431:
1289:
periods decorated their music with improvised ornaments.
1069:
Audio playback is not supported in your browser. You can
951:
910:
Audio playback is not supported in your browser. You can
753:
Audio playback is not supported in your browser. You can
556:
Audio playback is not supported in your browser. You can
449:
Audio playback is not supported in your browser. You can
2106:, Edited by Walter Carroll & Willard A. Palmer, p. 3
1032:
In the 19th century, the acciaccatura (sometimes called
354:
below), regardless of the timing used in the execution.
295:
In the Baroque period, it was common for performers to
1426:
El libro llamado declaracion de instrumentos musicales
632:
No. 7, first played with lower mordents, then without.
342:
does not count as part of the total time value of the
1350:(1620) we are also told about fashionable ornaments:
995:
954:
945:
841:
373:
published the first collection of such music for the
2336:
Classical and Romantic Performing Practice 1750–1900
2081:
Behind Bars - The definitive guide to music notation
1469:
Motetti, madrigali et canzoni francesi ... diminuiti
844:
3116:
2990:
2957:
2837:
2720:
2617:
1044:), with an oblique stroke through the stem. In the
960:
856:
479:There is also a single tone trill variously called
60:. Unsourced material may be challenged and removed.
2243:
1052:long or short has the emphasis on the grace note.
708:periods would begin with the added, upper note. A
2427:. Vol. 27 (11th ed.). pp. 912–915.
1871:; Clements, Andrew; Carter, Tim; Walker, Thomas;
567:Confusion over the meaning of the unadorned word
687:was generally applied to what is now called the
428:representing the length of the trill, above the
2373:. Princeton: Princeton University Press, 1978.
2058:The New Grove Dictionary of Music and Musicians
1922:The New Grove Dictionary of Music and Musicians
700:(the lesser, added note), rather than with the
1544:Libro primo di mottetti passeggiati à una voce
1478:Passaggi per potersi essercitare nel diminuire
2595:
2447:
1808:music. A singer, fiddler, flautist, harpist,
1383:
1377:
1371:
1363:
1357:
1351:
408:. The trill is usually indicated by either a
8:
2148:. New York: Edwin F. Kalmus. pp. 65–67.
2047:Robert E. Seletsky, "Acciaccatura (It.; Fr.
2246:Music notation: a manual of modern practice
1597:Klavierbüchlein für Wilhelm Friedemann Bach
326:Ornamentation may also be indicated by the
205:before a main note to the performance of a
3157:
2602:
2588:
2580:
2454:
2440:
2432:
1919:Elaine Sisman, "Variations, §4: Origins",
1569:Libro de passaggi ascendenti e descendenti
1496:Breve et facile maniera ... a far passaggi
2297:New Hibernia Review / Iris Éireannach Nua
1725:Learn how and when to remove this message
683:. In the 19th century, however, the name
283:Learn how and when to remove this message
120:Learn how and when to remove this message
2271:"Interpretation of Jazz Band Literature"
369:", and can be traced back to 1538, when
361:, melodies ornamented upon repetition ("
1891:10.1093/gmo/9781561592630.article.43315
1853:
1391:Key treatises detailing ornamentation:
1991:: CS1 maint: archived copy as title (
1984:
1081:composer and the period. For example,
1036:) came to be a shorter variant of the
889:An appoggiatura is often written as a
818:
671:) was what later came to be called an
639:
136:Extreme example of ornamentation as a
2197:
2185:
2173:
2114:
2112:
1954:
1942:
1560:Libro secondo d'arie à una e piu voci
1417:Tratado de glosas sobre clausulas ...
1226:
1010:
877:
464:(plus) sign above or below the note.
225:is used specifically to indicate the
7:
2364:A Performer's Guide to Baroque Music
1859:
1857:
1707:adding citations to reliable sources
1444:Libro llamado arte de tañer fantasia
265:adding citations to reliable sources
58:adding citations to reliable sources
1462:Ricercate, passaggi et cadentie ...
1277:Renaissance and early Baroque music
2366:. London: Faber & Faber, 1975.
2104:First Lesson in Bach for the Piano
1097:'s before-the-beat acciaccaturas.
25:
1566:Giovanni Battista Spadi da Faenza
1201:A "shaken" or trilled Nachschlag
901:This may be executed as follows:
347:
3167:
3166:
3156:
2399:
1683:
985:
938:
834:
819:Problems playing this file? See
801:
640:Problems playing this file? See
616:
579:mordent being used, rather than
241:
34:
1694:needs additional citations for
716:lower than the principal note.
677:and what is now often called a
252:needs additional citations for
45:needs additional citations for
1638:D'anglebert-table-of-ornaments
1558:Giovanni Girolamo Kapsberger,
1399:Opera intitulata Fontegara ...
1015:) comes from the Italian verb
311:the second time. Similarly, a
1:
1396:Silvestro Ganassi dal Fontego
2144:Dannreuther, Edward (1893).
2083:. Faber Music. p. 128.
2061:, second edition, edited by
1925:, second edition, edited by
1751:ornaments such as "dead" or
1540:Giovanni Girolamo Kapsberger
1133:contemporary classical music
1066:
907:
750:
571:has led to the modern terms
553:
476:bears the trill indication.
446:
2967:History of music publishing
2338:. Oxford University Press.
1511:Giovanni Battista Bovicelli
1346:, and by the time we reach
3214:
2159:Rognoni, Riccardo (2002).
2069:(London: Macmillan, 2001).
1933:(London: Macmillan, 2001).
1553:Selva de varii passaggi...
1272:In Western classical music
1142:
1104:
776:
723:
500:
389:
351:
3172:Category:Musical notation
3152:
3038:Numbered musical notation
2829:Scientific pitch notation
2469:
1867:; McClymonds, Marita P.;
299:ornamentation on a given
2819:Helmholtz pitch notation
2278:The U.S. Army Field Band
2163:. Arnaldo Forni Editore.
2120:"Music Dictionary: N–Nh"
1875:; Libby, Dennis (2001).
1453:Il vero modo diminuir...
1238:The first definition of
1145:Slide (musical ornament)
1012:[attʃakkaˈtuːra]
879:[appoddʒaˈtuːra]
303:. A singer performing a
229:style of ornamentation.
27:Type of musical flourish
3162:List of musical symbols
3033:Nashville Number System
2424:Encyclopædia Britannica
2291:Williams, Sean (2004).
2034:Encyclopædia Britannica
2012:, Fourth Edition, p. 40
1166:and the previous one."
1123:All of the intervening
1071:download the audio file
912:download the audio file
755:download the audio file
558:download the audio file
523:) or below (called the
451:download the audio file
2712:Transposing instrument
2242:Read, Gardner (1969).
2079:Gould, Elaine (2011).
1759:Indian classical music
1639:
1628:Jean-Henri d'Anglebert
1622:
1620:
1493:Giovanni Luca Conforti
1405:Adrianus Petit Coclico
1384:
1378:
1372:
1364:
1358:
1352:
1213:
1211:
1192:
1190:
1154:
790:
605:
233:Improvised vs. written
163:
161:
2413:Tovey, Donald Francis
2334:Brown, Clive (2004).
2146:Musical Ornamentation
1637:
1619:
1610:
1575:Johann Andreas Herbst
1228:[ˈnaːxˌʃlaːk]
1210:
1200:
1189:
1179:
1152:
789:
626:The first bar of the
604:
319:(upper or lower) and
160:
135:
69:"Ornament" music
18:Ornamentation (music)
2408:at Wikimedia Commons
2369:Neumann, Frederick.
2028:"Appoggiatura"
1703:improve this article
1441:Tomás de Santa María
1256:The Division Violist
1180:A smooth Nachschlag
261:improve this article
54:improve this article
3198:Musical terminology
3058:Percussion notation
2229:, lecture given at
2222:(29 October 2012),
2200:, pp. 415–425.
1450:Girolamo Dalla Casa
1252:Christopher Simpson
1029:(together-stroke).
744:may be executed as
591:for a mordent in a
348:§ Appoggiatura
2418:"Variations"
2225:Improvising Mozart
1882:Grove Music Online
1640:
1623:
1621:
1520:Aurelio Virgiliano
1487:Prattica di musica
1437:, Wittenberg, 1556
1408:Compendium musices
1291:Michael Praetorius
1214:
1212:
1193:
1191:
1155:
1153:Schleifer notation
1034:short appoggiatura
791:
731:A turn is a short
629:Goldberg Variation
606:
164:
162:
3180:
3179:
3124:Mensural notation
2577:
2576:
2406:Ornaments (music)
2404:Media related to
2360:Donington, Robert
2250:. Allyn and Bacon
1900:978-1-56159-263-0
1735:
1734:
1727:
1617:
1550:Francesco Rognoni
1467:Giovanni Bassano
1348:Francesco Rognoni
1283:Silvestro Ganassi
1208:
1187:
1075:
1038:long appoggiatura
916:
806:
759:
726:Autobus (cycling)
621:
562:
455:
293:
292:
285:
158:
130:
129:
122:
104:
16:(Redirected from
3205:
3170:
3169:
3160:
3159:
3023:Graphic notation
2687:Rehearsal letter
2611:Musical notation
2604:
2597:
2590:
2581:
2456:
2449:
2442:
2433:
2428:
2420:
2403:
2349:
2321:
2320:
2288:
2282:
2281:
2275:
2266:
2260:
2259:
2257:
2255:
2249:
2239:
2233:
2228:
2207:
2201:
2195:
2189:
2183:
2177:
2171:
2165:
2164:
2156:
2150:
2149:
2141:
2135:
2134:
2132:
2130:
2124:Dolmetsch Online
2116:
2107:
2101:
2095:
2094:
2076:
2070:
2045:
2039:
2038:
2030:
2019:
2013:
2003:
1997:
1996:
1990:
1982:
1980:
1979:
1970:. Archived from
1964:
1958:
1952:
1946:
1940:
1934:
1917:
1911:
1910:
1908:
1907:
1861:
1748:extemporizations
1730:
1723:
1719:
1716:
1710:
1687:
1679:
1643:Classical period
1618:
1533:Le nuove musiche
1484:Lodovico Zacconi
1475:Riccardo Rognoni
1459:Giovanni Bassano
1387:
1381:
1375:
1369:
1361:
1355:
1333:
1325:Antonio Archilei
1314:Nicola Vicentino
1300:, also known as
1230:
1225:
1209:
1188:
1046:Classical period
1014:
1009:
1005:
1004:
1001:
1000:
997:
994:
991:
984:
976:
975:
972:
971:
968:
965:
962:
959:
956:
953:
950:
947:
944:
937:
881:
876:
872:
871:
868:
867:
864:
861:
858:
855:
852:
849:
846:
843:
840:
808:
807:
788:
698:inessential note
674:inverted mordent
623:
622:
603:
585:inverted mordent
525:inverted mordent
423:
415:
365:") were called "
288:
281:
277:
274:
268:
245:
237:
213:. The amount of
159:
150:
149:
125:
118:
114:
111:
105:
103:
62:
38:
30:
21:
3213:
3212:
3208:
3207:
3206:
3204:
3203:
3202:
3183:
3182:
3181:
3176:
3148:
3112:
2986:
2977:Music publisher
2972:Music engraving
2953:
2833:
2824:Letter notation
2716:
2613:
2608:
2578:
2573:
2543:Steps and skips
2465:
2460:
2411:
2396:
2356:
2354:Further reading
2346:
2333:
2325:
2324:
2290:
2289:
2285:
2273:
2268:
2267:
2263:
2253:
2251:
2241:
2240:
2236:
2218:
2215:Wayback Machine
2208:
2204:
2196:
2192:
2184:
2180:
2172:
2168:
2158:
2157:
2153:
2143:
2142:
2138:
2128:
2126:
2118:
2117:
2110:
2102:
2098:
2091:
2078:
2077:
2073:
2046:
2042:
2021:
2020:
2016:
2004:
2000:
1983:
1977:
1975:
1968:"Archived copy"
1966:
1965:
1961:
1953:
1949:
1941:
1937:
1918:
1914:
1905:
1903:
1901:
1863:
1862:
1855:
1850:
1829:, ornaments in
1823:
1790:
1761:
1740:
1731:
1720:
1714:
1711:
1700:
1688:
1677:
1645:
1612:
1587:
1578:Musica practica
1502:Girolamo Diruta
1410:Nuremberg, 1552
1327:
1279:
1274:
1258:, refer to the
1223:
1216:
1215:
1203:
1182:
1174:
1147:
1141:
1121:
1120:
1109:
1103:
1078:
1077:
1076:
1074:
1058:
1057:
1007:
988:
979:
978:
941:
932:
931:
924:
919:
918:
917:
915:
899:
898:
874:
837:
833:
826:
825:
817:
815:
814:
813:
812:
809:
802:
799:
792:
786:
781:
775:
762:
761:
760:
758:
742:
741:
729:
722:
647:
646:
638:
636:
635:
634:
633:
624:
617:
614:
607:
601:
565:
564:
563:
561:
541:
540:
505:
499:
458:
457:
456:
454:
438:
437:
417:
409:
394:
388:
383:
371:Luis de Narváez
289:
278:
272:
269:
258:
246:
235:
209:and flamboyant
154:
147:
146:
126:
115:
109:
106:
63:
61:
51:
39:
28:
23:
22:
15:
12:
11:
5:
3211:
3209:
3201:
3200:
3195:
3185:
3184:
3178:
3177:
3175:
3174:
3164:
3153:
3150:
3149:
3147:
3146:
3141:
3136:
3131:
3126:
3120:
3118:
3114:
3113:
3111:
3110:
3105:
3100:
3095:
3090:
3085:
3080:
3075:
3070:
3065:
3060:
3055:
3050:
3045:
3040:
3035:
3030:
3025:
3020:
3015:
3010:
3005:
3000:
2994:
2992:
2988:
2987:
2985:
2984:
2979:
2974:
2969:
2963:
2961:
2955:
2954:
2952:
2951:
2946:
2941:
2936:
2931:
2926:
2921:
2920:
2919:
2914:
2909:
2904:
2899:
2894:
2884:
2879:
2874:
2869:
2864:
2859:
2854:
2849:
2843:
2841:
2835:
2834:
2832:
2831:
2826:
2821:
2816:
2811:
2806:
2801:
2796:
2791:
2786:
2785:
2784:
2779:
2774:
2764:
2759:
2754:
2749:
2748:
2747:
2742:
2737:
2726:
2724:
2718:
2717:
2715:
2714:
2709:
2704:
2702:Time signature
2699:
2694:
2689:
2684:
2679:
2674:
2669:
2664:
2659:
2654:
2649:
2644:
2639:
2634:
2629:
2623:
2621:
2615:
2614:
2609:
2607:
2606:
2599:
2592:
2584:
2575:
2574:
2572:
2571:
2566:
2561:
2556:
2550:
2545:
2540:
2535:
2530:
2525:
2520:
2515:
2514:
2513:
2503:
2498:
2496:Melodic motion
2493:
2488:
2483:
2478:
2470:
2467:
2466:
2461:
2459:
2458:
2451:
2444:
2436:
2430:
2429:
2409:
2395:
2394:External links
2392:
2391:
2390:
2367:
2355:
2352:
2351:
2350:
2344:
2323:
2322:
2303:(1): 122–145.
2283:
2261:
2234:
2202:
2190:
2188:, p. 455.
2178:
2176:, p. 456.
2166:
2151:
2136:
2108:
2096:
2089:
2071:
2053:Zusammenschlag
2040:
2025:, ed. (1911).
2023:Chisholm, Hugh
2014:
1998:
1959:
1957:, p. 499.
1947:
1945:, p. 492.
1935:
1912:
1899:
1873:Heartz, Daniel
1869:Budden, Julian
1852:
1851:
1849:
1846:
1845:
1844:
1839:
1834:
1822:
1819:
1789:
1786:
1765:Carnatic music
1760:
1757:
1739:
1736:
1733:
1732:
1691:
1689:
1682:
1676:
1675:In other music
1673:
1644:
1641:
1586:
1583:
1582:
1581:
1572:
1571:, Venice, 1624
1563:
1556:
1547:
1537:
1529:Giulio Caccini
1526:
1517:
1508:
1505:Il transylvano
1499:
1490:
1489:, Venice, 1592
1481:
1472:
1465:
1456:
1455:, Venice, 1584
1447:
1438:
1435:Pratica musica
1429:
1428:, Ossuna, 1555
1420:
1411:
1402:
1353:portar la voce
1323:Starting with
1308:(in Italian),
1278:
1275:
1273:
1270:
1195:
1194:
1173:
1168:
1143:Main article:
1140:
1137:
1118:
1117:
1105:Main article:
1102:
1099:
1068:
1065:
1063:
1062:
1055:
1054:
1027:Zusammenschlag
923:
920:
909:
906:
904:
903:
896:
895:
884:auxiliary note
816:
810:
800:
795:
794:
793:
784:
783:
782:
777:Main article:
774:
771:
752:
749:
747:
746:
739:
738:
721:
718:
702:principal note
665:equivalent of
651:Baroque period
637:
625:
615:
610:
609:
608:
599:
598:
597:
555:
552:
550:
549:
538:
537:
501:Main article:
498:
495:
448:
445:
443:
442:
435:
434:
390:Main article:
387:
384:
382:
379:
332:music notation
291:
290:
249:
247:
240:
234:
231:
227:French Baroque
219:Baroque period
176:embellishments
128:
127:
42:
40:
33:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
3210:
3199:
3196:
3194:
3193:Ornamentation
3191:
3190:
3188:
3173:
3165:
3163:
3155:
3154:
3151:
3145:
3144:Transcription
3142:
3140:
3139:Sight-reading
3137:
3135:
3134:Perfect pitch
3132:
3130:
3127:
3125:
3122:
3121:
3119:
3115:
3109:
3106:
3104:
3101:
3099:
3096:
3094:
3091:
3089:
3086:
3084:
3081:
3079:
3076:
3074:
3071:
3069:
3068:Ancient Greek
3066:
3064:
3061:
3059:
3056:
3054:
3051:
3049:
3046:
3044:
3041:
3039:
3036:
3034:
3031:
3029:
3026:
3024:
3021:
3019:
3016:
3014:
3011:
3009:
3008:Chord diagram
3006:
3004:
3001:
2999:
2998:Braille music
2996:
2995:
2993:
2991:Other systems
2989:
2983:
2980:
2978:
2975:
2973:
2970:
2968:
2965:
2964:
2962:
2960:
2956:
2950:
2947:
2945:
2942:
2940:
2937:
2935:
2932:
2930:
2927:
2925:
2922:
2918:
2915:
2913:
2910:
2908:
2905:
2903:
2900:
2898:
2895:
2893:
2890:
2889:
2888:
2885:
2883:
2880:
2878:
2875:
2873:
2870:
2868:
2865:
2863:
2860:
2858:
2855:
2853:
2850:
2848:
2845:
2844:
2842:
2840:
2836:
2830:
2827:
2825:
2822:
2820:
2817:
2815:
2812:
2810:
2807:
2805:
2802:
2800:
2797:
2795:
2792:
2790:
2787:
2783:
2780:
2778:
2775:
2773:
2770:
2769:
2768:
2765:
2763:
2760:
2758:
2755:
2753:
2750:
2746:
2743:
2741:
2738:
2736:
2733:
2732:
2731:
2728:
2727:
2725:
2723:
2722:Musical notes
2719:
2713:
2710:
2708:
2707:Transposition
2705:
2703:
2700:
2698:
2695:
2693:
2690:
2688:
2685:
2683:
2680:
2678:
2675:
2673:
2670:
2668:
2665:
2663:
2662:Key signature
2660:
2658:
2655:
2653:
2650:
2648:
2645:
2643:
2640:
2638:
2635:
2633:
2630:
2628:
2625:
2624:
2622:
2620:
2616:
2612:
2605:
2600:
2598:
2593:
2591:
2586:
2585:
2582:
2570:
2569:Voice leading
2567:
2565:
2562:
2560:
2557:
2554:
2551:
2549:
2546:
2544:
2541:
2539:
2536:
2534:
2531:
2529:
2526:
2524:
2521:
2519:
2516:
2512:
2509:
2508:
2507:
2504:
2502:
2499:
2497:
2494:
2492:
2489:
2487:
2484:
2482:
2479:
2477:
2476:
2472:
2471:
2468:
2464:
2457:
2452:
2450:
2445:
2443:
2438:
2437:
2434:
2426:
2425:
2419:
2414:
2410:
2407:
2402:
2398:
2397:
2393:
2388:
2387:0-691-02707-2
2384:
2380:
2379:0-691-09123-4
2376:
2372:
2368:
2365:
2361:
2358:
2357:
2353:
2347:
2341:
2337:
2332:
2331:
2330:
2329:
2318:
2314:
2310:
2306:
2302:
2298:
2294:
2287:
2284:
2279:
2272:
2265:
2262:
2248:
2247:
2238:
2235:
2232:
2227:
2226:
2221:
2220:Levin, Robert
2216:
2212:
2206:
2203:
2199:
2194:
2191:
2187:
2182:
2179:
2175:
2170:
2167:
2162:
2155:
2152:
2147:
2140:
2137:
2125:
2121:
2115:
2113:
2109:
2105:
2100:
2097:
2092:
2090:9780571514564
2086:
2082:
2075:
2072:
2068:
2064:
2063:Stanley Sadie
2060:
2059:
2054:
2050:
2049:pincé étouffé
2044:
2041:
2036:
2035:
2029:
2024:
2018:
2015:
2011:
2007:
2002:
1999:
1994:
1988:
1974:on 2016-10-29
1973:
1969:
1963:
1960:
1956:
1951:
1948:
1944:
1939:
1936:
1932:
1928:
1927:Stanley Sadie
1924:
1923:
1916:
1913:
1902:
1896:
1892:
1888:
1884:
1883:
1878:
1874:
1870:
1866:
1865:Westrup, Jack
1860:
1858:
1854:
1847:
1843:
1840:
1838:
1835:
1832:
1828:
1825:
1824:
1820:
1818:
1815:
1811:
1807:
1803:
1799:
1795:
1787:
1785:
1781:
1778:
1774:
1770:
1766:
1758:
1756:
1754:
1749:
1744:
1737:
1729:
1726:
1718:
1708:
1704:
1698:
1697:
1692:This section
1690:
1686:
1681:
1680:
1674:
1672:
1669:
1668:chamber music
1665:
1661:
1656:
1653:
1648:
1642:
1636:
1632:
1630:
1629:
1609:
1605:
1603:
1599:
1598:
1592:
1591:Baroque music
1589:Ornaments in
1585:Baroque music
1584:
1579:
1576:
1573:
1570:
1567:
1564:
1561:
1557:
1554:
1551:
1548:
1545:
1541:
1538:
1535:
1534:
1530:
1527:
1524:
1521:
1518:
1516:, Venice 1594
1515:
1512:
1509:
1506:
1503:
1500:
1497:
1494:
1491:
1488:
1485:
1482:
1480:, Venice 1592
1479:
1476:
1473:
1471:, Venice 1591
1470:
1466:
1464:, Venice 1585
1463:
1460:
1457:
1454:
1451:
1448:
1445:
1442:
1439:
1436:
1433:
1432:Hermann Finck
1430:
1427:
1424:
1421:
1418:
1415:
1412:
1409:
1406:
1403:
1401:, Venice 1535
1400:
1397:
1394:
1393:
1392:
1389:
1386:
1380:
1374:
1368:
1367:
1360:
1354:
1349:
1345:
1341:
1337:
1331:
1326:
1321:
1319:
1316:in 1555), or
1315:
1311:
1307:
1303:
1299:
1294:
1292:
1288:
1284:
1276:
1271:
1269:
1267:
1266:
1261:
1257:
1253:
1249:
1245:
1241:
1236:
1234:
1229:
1221:
1199:
1178:
1172:
1169:
1167:
1164:
1160:
1151:
1146:
1138:
1136:
1134:
1130:
1126:
1116:
1114:
1108:
1100:
1098:
1096:
1092:
1088:
1084:
1072:
1061:
1053:
1051:
1047:
1043:
1039:
1035:
1030:
1028:
1024:
1020:
1019:
1013:
1003:
982:
974:
935:
929:
921:
913:
902:
894:
892:
887:
885:
880:
870:
831:
824:
822:
798:
780:
772:
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680:lower mordent
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250:This section
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110:November 2018
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71: –
70:
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65:Find sources:
59:
55:
49:
48:
43:This article
41:
37:
32:
31:
19:
3043:Klavarskribo
3018:Figured bass
2892:Appoggiatura
2886:
2839:Articulation
2637:Abbreviation
2505:
2473:
2422:
2370:
2363:
2335:
2327:
2326:
2300:
2296:
2286:
2277:
2269:Brye, John.
2264:
2252:. Retrieved
2245:
2237:
2224:
2211:Ghostarchive
2209:Archived at
2205:
2193:
2181:
2169:
2160:
2154:
2145:
2139:
2129:February 26,
2127:. Retrieved
2123:
2103:
2099:
2080:
2074:
2067:John Tyrrell
2056:
2052:
2048:
2043:
2032:
2017:
2010:Counterpoint
2009:
2001:
1976:. Retrieved
1972:the original
1962:
1950:
1938:
1931:John Tyrrell
1920:
1915:
1904:. Retrieved
1880:
1810:tin whistler
1791:
1788:Celtic music
1782:
1776:
1772:
1762:
1741:
1721:
1712:
1701:Please help
1696:verification
1693:
1657:
1649:
1646:
1626:
1624:
1595:
1588:
1577:
1568:
1562:, Rome, 1623
1559:
1552:
1546:, Rome, 1612
1543:
1531:
1525:, MS, c.1600
1523:Il Dolcimelo
1522:
1513:
1504:
1495:
1486:
1477:
1468:
1461:
1452:
1443:
1434:
1425:
1423:Juan Bermudo
1419:, Rome, 1553
1416:
1407:
1398:
1390:
1379:esclamatione
1343:
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1079:
1059:
1050:appoggiatura
1049:
1037:
1033:
1031:
1026:
1016:
928:acciaccatura
927:
925:
922:Acciaccatura
900:
888:
883:
830:appoggiatura
827:
797:Appoggiatura
779:Appoggiatura
773:Appoggiatura
767:
763:
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519:, or simply
517:pralltriller
516:
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439:
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419:
418:
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356:
352:§ Trill
325:
305:da capo aria
301:melodic line
294:
279:
270:
259:Please help
254:verification
251:
222:
214:
200:
175:
171:
165:
116:
107:
97:
90:
83:
76:
64:
52:Please help
47:verification
44:
3129:Music stand
3003:Chord chart
2982:Scorewriter
2959:Sheet music
2757:Dotted note
2692:Repeat sign
2667:Ledger line
2006:Kent Kennan
1806:Cape Breton
1753:ghost notes
1498:, Rome 1593
1414:Diego Ortiz
1328: [
1302:diminutions
1042:eighth note
1023:arpeggiated
491:Renaissance
424:, with the
367:diferencias
313:harpsichord
3187:Categories
3103:Shakuhachi
3078:Ekphonetic
3063:Simplified
3028:Lead sheet
2902:Grace note
2767:Note value
2762:Grace note
2730:Accidental
2345:0195166655
2254:15 January
2198:Brown 2004
2186:Brown 2004
2174:Brown 2004
1978:2018-12-04
1955:Brown 2004
1943:Brown 2004
1906:2020-09-18
1848:References
1715:April 2017
1652:C.P.E Bach
1240:Nachschlag
1233:Nachschlag
1220:Nachschlag
1171:Nachschlag
1129:portamento
1091:Mussorgsky
1018:acciaccare
891:grace note
821:media help
642:media help
340:note value
336:grace note
273:March 2019
203:grace note
80:newspapers
3098:Swaralipi
3088:Kunkunshi
3048:Tablature
3013:Eye music
2897:Glissando
2872:Fingering
2657:Dal segno
2559:Ululation
2381:(cloth);
2309:1092-3977
1837:Ribattuta
1827:Dreydlekh
1660:Beethoven
1602:J.S. Bach
1385:intonatio
1298:divisions
1218:The word
1163:Schleifer
1113:glissando
1107:Glissando
1101:Glissando
1095:Prokofiev
926:The word
706:Classical
406:chromatic
363:divisions
297:improvise
207:virtuosic
172:ornaments
138:fioritura
3108:Znamenny
2949:Tonguing
2934:Staccato
2887:Ornament
2862:Dynamics
2814:Interval
2777:Notehead
2752:Cue note
2555:(figure)
2538:Sequence
2523:Phrasing
2506:Ornament
2486:Interval
2475:Balungan
2415:(1911).
2317:20557912
2213:and the
1987:cite web
1821:See also
1802:Scottish
1777:kampitam
1769:Sanskrit
1306:passaggi
1248:springer
1125:diatonic
1008:Italian:
875:Italian:
714:semitone
663:Scottish
612:Mordents
489:in late
402:diatonic
328:composer
317:mordents
223:agrément
148:♭
142:Chopin's
3117:Related
3083:Gamelan
3073:Chinese
3053:Parsons
2924:Portato
2907:Mordent
2882:Marcato
2867:Fermata
2857:Damping
2852:Caesura
2809:Tremolo
2740:natural
2652:Da capo
2518:Pattern
2491:Melisma
2481:Cadence
2328:Sources
2051:; Ger.
1831:klezmer
1366:tremolo
1359:accento
1344:cascate
1287:Baroque
1224:German:
1093:'s and
1085:'s and
693:mordant
685:mordent
668:mordent
655:mordant
649:In the
581:mordent
569:mordent
521:mordent
509:mordent
503:Mordent
497:Mordent
486:tremolo
375:vihuela
184:harmony
94:scholar
2939:Tenuto
2877:Legato
2847:Accent
2804:Tuplet
2548:Timbre
2533:Rhythm
2463:Melody
2389:(pbk).
2385:
2377:
2342:
2315:
2307:
2087:
1897:
1877:"Aria"
1804:, and
1773:gamaka
1767:, the
1664:Mozart
1580:, 1642
1555:, 1620
1536:, 1602
1507:, 1593
1446:, 1565
1373:gruppo
1340:trillo
1336:graces
1318:glosas
1310:gorgia
1260:cadent
1244:cadent
1083:Mozart
733:figure
659:German
589:symbol
481:trillo
309:trills
180:melody
96:
89:
82:
75:
67:
3093:Neume
2917:Trill
2912:Slide
2799:Tacet
2789:Pitch
2745:sharp
2697:Tempo
2682:Scale
2677:Ossia
2619:Staff
2564:Voice
2528:Pitch
2511:Trill
2501:Motif
2313:JSTOR
2274:(PDF)
1842:Glosa
1833:music
1814:piper
1798:Irish
1794:Welsh
1771:term
1332:]
1281:From
1246:or a
1159:slide
1139:Slide
1131:. In
1087:Haydn
710:lower
689:upper
657:(the
577:lower
573:upper
545:tempo
533:tilde
430:staff
416:or a
398:trill
386:Trill
381:Types
359:Spain
211:trill
192:piece
168:music
151:major
140:from
101:JSTOR
87:books
2929:Slur
2794:Rest
2782:stem
2772:beam
2735:flat
2672:Mode
2647:Clef
2553:Type
2383:ISBN
2375:ISBN
2340:ISBN
2305:ISSN
2256:2012
2131:2019
2085:ISBN
2065:and
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1993:link
1929:and
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1738:Jazz
1382:and
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196:note
188:song
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