GRACES, ETC.

CHAP. XU.

68

CHAPTER

XII.

GRACES, EMBELLISHMENTS, ORNAMENTS,

PHRASING, ABBREVIATIONS, ETC.

The Appoggiatura

i86.

(lit.

leaning note) pro-

nounced ap-pod'-gee-ah-too'-rah,visedtohe written as

a small note in the works of the old masters, (Haydn,
Mozart, and others of the i8th Century). It is
now written as a note of the usual size, and has the
exact time value given to it which it requires.
187. When written as a small note before a fullsized note which is divisible into two equal parts,
the appoggiatura takes one of them, and

cented

is

ac-

Fig. 68.
Written.

Played.

Played.

Written.

188.

When

written as a small note before a

full-

sized dotted note of long duration, the appoggiatura

takes the value of the note without the dot, and

accented.

Fig. 69.
Written.

Played.

is

CHAP.
189.

When

XII.

GRACES, ETC.

6q

written before a dotted note of short

duration, the appoggiatura

one-third of the dotted note:

sometimes takes only

Fig. 70.

^^^^^^
Played.

Wrilten.

190.

When

written before a long note tied to a

shorter one, the appoggiatura takes the value of the

whole of the long note, and

value of the dot also:

if

that note has a dot, the

Fig. 71.
Written.

Played.

-m

191.

When

sn-

written before a chord, the appog-

giatura should be played with all the other notes

except the one

it

is

intended to embelHsh.

marked arpeggio by means

chord

is

wavy

line,

of

If

the

an upright,

the appoggiatura temporarily takes the

place of the note

it

embellishes

Fig. 72.
Written.

192.

Played.

Written.

Played.

The Double Appoggiatura

consists

of

two

small notes which are occasionally written before a

full-sized note.

They should take

as

little

time as

possible from the duration of the principal note:

CHAP.

yO

GRACES, ETC.

XII.

Fig. 73Played.

Written.

193.

The

Acciaccatura (crushed note) pronounced

atch-yak'-ka-too'-rah,

drawn

across

its

is

a small note having a line

stem.

It

should be played as

closely as possible to the full-sized note

which retains

its

accent:

it

precedes,

Fig. 74-

194. In

modern music, a smaU note written

is always played as an

before an ordinary note

acciaccatura.

The Turn

or Gruppetto, -^

is an ornament
which turns or winds round the principal note it
It is a group of four or five notes,
embellishes.

195.

consisting of

two or three

repetitions of the prin-

cipal note alternated with the notes

degree above and below

it

dering of the turn depends upon:

(i).

The

time (speed) of the piece in

The

position of the sign

occurs.
(2).

which

in the scale.

The

lie

ren-

which

it

whether above or

after the principal note.

(3).

ple.

Whether the

principal note

is

dotted or sim-

CHAP.
196.

When

GRACES, Elv

XII.

7-

written over an undotted note in

quick time, the turn consists of four equal notes:

(i),

the note of the scale above the written or prin-

cipal note;

(ii),

"semitone below;

See Fig. 75,

the principal note

and

(iv),

In slow time the

(a).

itself;

(iii),

the

the principal note again.

last

note should

be longer than the three preceding ones, as in Fig.

75,(6):Fig. 75Played.

197.

When

Played.

a turn

placed over a note preceded

is

by a rest, it should begin upon the principal

and consist of five notes as in Fig. 76
:

note,

Fig. 76.
Played.

Wrilten.

|i
198.

When the turn is placed after a

principal note lasts for

lea^g

just

enough time

nearly

its

long note, the

full

duration,

for the turn at the end:

Fig. 77.
Played.

Writlen.

199.

The Turn
when

dotted note,

is

often placed over or after

it is

generally played thus, as in

GRACES, ETC.

CHAP. Xn.

72
Fig. 78.
(*)

"Observe that the last note of the turn

takes the place of the dot:

Fig. 78.
Played.

Written.

The Inverted Turn (l) is the exact reverse

Turn. It commences on the lower
note and is more often than not written out in full,
200.

of the Direct

in short notes

Fig. 79.

201.

When

accidentals

are required in a turn

they should be indicated thus:

'

202.

The

Fig. 80.

Shake, written

word

tr...

(the first

two

let-

a shake), consists of a rapid

alternation of a given note with the note above,
which must be continued for the value 01 tne printers of the

trillo,

cipal or written note.

The shake

generally ends

with a turn, which is sometimes indicated in small

notes.
If the shake be intended to begin upon the
note above, this

is

usually indicated

by a small note

prefixed to the principal note of the shake:

CHAP.

GRACES, ETC.

XII.

73

Fig. 8i.
Played.

Written.
f^ It

Beginning with the note above.

Played.

Written,

Beginning with the principa note.

tr

i ^A
203.

shake

sometimes preceded by two or

is

three notes in small type, which should be incor-

This

porated in the shake.

shake:

called a prepared

is

Fig. 82.
Written.

Played.

f
204.

I
!

snake occurring on a

value resembles a turn:

not*^ of

'

"

'

a short time

Fig. 83.
Played.

Written,
tr

SEEJE

P
205.

The two

last

^V

"

notes "wath which a shake should

terminate are frequently written thus:

Fig. 84.

-m-m206.

In a succession of shakes, called a catena di

is only added to

trim (a chain of shakes), the turn

the last shake:

CHAP.

74

GRACES, ETC

XII.

Fig. 85.
Written,
tr

tr

=
Played.

207.

The

following forms, indicating the begin-

met
Bach and other old mas-

nings and endings of ordinary shakes, are often

with in the works of

ters:

J. S.

Fig. 86.
I

The shake without a turn:

AAA/
Played.

i
2.

The shake commencing with an

CVW

The shake
3.
direct turn:

r-sjy-^

\.

5.

commencing with an

inverted, but ending with

Played.

The shak" commencing with a

^AAA/

inverted turn:

Played.

direct turn:

Played.

The shake commencing and ending with a

^-AA^
Played.

direct turn:

CHAP.
6.

The shake ending with a

From Dr. H.

208.

75

direct turn:

Played.

/Va7

GRACES, ETC.

XII.

When

A. Harding's Musical Ornaments.

a shake

several measures

it is

is

to be prolonged through

usual to write

it

as follows:

Fig. 87.

m
209.

The Upper Mordent /w,

written, the note above,

The

consists of the note

and the written note

again.

third note should be of longer duration than the

preceding ones, and should carry the accent:

210.

The Lower Mordent "^j

consists of the note

written, the note of the scale below (unless otherwise

indicated),

and the written note again:

Fig. 89.
Written.

i
211.

The Slide

Played.

^
(Fr. coulf)

Written.

:^

Ployed.

somewhat resembles the

mordent, both in appearance and in performance.

CHAP.

76

It consists of

XII.

GRACES, ETC.

two sounds ascending or descending

very rapidly to the principal note, out

taken:
time
of which

stepwise

is

its

Fig. 90.

D. SCABLATTI.

Played.

212. In older music, the slide

;

and was

called a relish:

was marked

thUs,

Fig. 91.
Played.

Written.

--^Ib:

213.

In modern music, the sHde

in the actual notation required

small,

imtimed notes

if

is

not expressed
indicated

by

Fig. 92.
Written.

Played.

214.

The

occurs
name.

After-note

at the

end of

unlike
its

In appearance,

all

other ornaments

principal sound; hence

it

its

resembles a small slur

placed in a slanting or sideway position:

CHAP.

GRACES, ETC.

XII.

77

Fig. 93Played.

Written.

modern music, the

215. In

J. S.

after-note

used as a note of anticipation:

Bach.

often

is

Fig. 94-

WrMen.

Played.

-#^-=1
4

-<!^

216.

r
p^ ~d
*

h*- d
^^

__^

Sometimes

after-notes:

this

Schumann.

^
J

3- -4

J--

--=

ornament consists of two

Fig. 95Written.

217.

By

Chopin.

Played.

Phrasing

is

meant the bringing

into

prominence the symmetrical or rhythmical grouping of the sounds which form a melody,

proper observance of the breaks in

218.

Phrase

ody which
and end.

is

its

by the

continuity.

an incomplete portion

of a mel-

has, however, a well defined beginning

A pnrase is often indicated by means of a

but sometimes in addition to a slux-indication,

219.
slur,

shown by a rest.
marked by a pianist
or organist lifting his hand from the keyboard; by a
singer's taking breath; and by a vioUnist changing
the end of a phrase
220.

The end

is

clearly

of a phrase

the direction of his bow.

is

CHAP.

7
2 21.
is

When

only two notes are slurred, the former

usually emphasized,
222.

GRACES, ETC.

XII.

and the

Abbreviations.

signs are used

when

If

the

of

the

following

notes or passages have to be

repeated, thereby saving time

posers and copyists:

latter cut short.

Many

and trouble

to

com-

same music occurs in consecutive bars in manuscript

and sometimes in print,the sign i-* or * is employed.

writing,

Fig. 96.

223. In orchestral

music

chiefly, these abbrevi-

ations occur:
Fig. 97.
Written.

224.

Played,

The word Tremolo

the passage
as possible:

is

(or Trem.) signifies that

to be played with as

many

iterations

CHAP.

GRACES, ETC.

XII.

79

Fig. 98.

Tremolo.

225.

Repeats.

Dots

when

written

double bar, indicate that the music

is

before

to be repeated

from the previous double bar, or from the beginning

of the piece:

Fig. 99.

226.

Dots when placed

after a double bar indicate

that the music to the following double bar

repeated:

to be

is

Fig. 100.

227.

The

signs

ima

volta (ist time),

(2nd time), are often used

peats, the bar or bars

and 2da

in conjunction

marked

ist

volta

with

re-

time are then to be

omitted at the repetition, and the bar or bars

marked 2nd time played

instead:

Fig.

228.

The word Bis

show that a
repeated.

01.

(twice)

is

sometimes used to

single bar or a short passage

is

to be

8o

CHAP.

GRACES, ETC.

XII.

Da Capo (from the beginning). When the

term Da Capo or D.C. occurs at any part of a piece
229.

it signifies

that the music

The term Al

beginning.

is

to be repeated from th*^

Segno, or Dal Segno, or

D.C. sino al Segno means that the piece

is to be
sign
from
the
%-.
In
these
cases
repeated
the po".
tion is to be played again without observing tne
ordinary repeat marks. Al Fine signifies "to the

end."

230.

pause or hold when placed over a double

the piece

end

bar

signifies that

Da

Capo.

this

purpose instead of the pause.

The word Fine

to

is
is

there, after

frequently used for

Fig. 102.

231.

The

Direct

is

used in old music at the end

of -a staff or a page, to indicate the

following page or

staff:

first

note on the

Fig. 103.

i
232. In

ztti

modern times the

direct

is

indicate the roots of the chords in a

often used to

harmony

ex-

ercise.

233.

Use of

The word
pedal

is

the

Pedals in Pianoforte Playing:

pedal, or ped., indicates that the right

to be pressed

down with

kept in that position until the

the right foot, and

occurs,

when

the

CHAP.

GRACES, ETC

XII.

foot should be removed.

indicate that the

8l

The words Una Corda

is to be pressed down

pedal

left

left foot, and kept in that position until the

words Tre Corde occur, when the foot should be removed. In old pianoforte music the use of the
right pedal was sometimes indicated by the words

with the

Senza Sordini (without dampers)

it

being the func-

remove the dampers from

the strings, thus causing them to continue to vibrate
and sound long after the hands are removed from the
keys. When the foot was required to release the
right pedal, the words Con Sordini (with dampers)
were used.
234. In violin music Con Sordino means that a
mute is to be placed on the bridge of the instrument
to damp or to alter the quahty of the tone of the
strings.
Senza Sordino means that this mute is to
tion of the right pedal to

removed.
235.

R.H. and L.H.

the right hand or

left

pianoforte playing.
itials:

These
hand

The

is

to be

employed in
and in-

following words

Man Diritta
Man Sinistra

(M.S.)

Main Droite
Main Gauche

(M.D.)
(M.G.)

are aJso used for the

letters indicate that

(M.D.)

=
=
=
=

same purpose.

R.H.
L.H.

R.H.
L.H.