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1309:(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.
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1744:(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
464:
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
1069:
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
1154:
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
433:
1582:
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
886:
875:) 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.
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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
724:
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
1739:
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
1643:
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
425:
1772:
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.
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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.
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323:, 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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757:
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.
1805:
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.
871:) 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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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.
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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
584:, 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.
608:
1220:) 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
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175:), 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
1583:
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
1231:
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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1508:
1313:
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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
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1603:
133:
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2022:
1257:] part of its sound to the note following... whose following Quaver is Placed with the ensuing Note, but played with the same Bow."
1224:
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.”
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1981:
1764:(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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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
389:, also known as a "shake", is a rapid alternation between an indicated note and the one above it. In simple music, trills may be
304:
player performing a simple melodic line was expected to be able to improvise harmonically and stylistically appropriate trills,
1769:(Ma) in Shankarabharanam or Begada allows at least three to five types of oscillation based on the phrasings within the raga.
1956:
1887:
89:
296:, for instance, would sing the melody relatively unornamented the first time and decorate it with additional flourishes and
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576:. Practice, notation, and nomenclature vary widely for all of these ornaments; that is to say, whether, by including the
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68:
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1037:, an acciaccatura is usually performed before the beat and the emphasis is on the main note, not the grace note. The
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335:. Alternatively, the term may refer more generally to any of the small notes used to mark some other ornament (see
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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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2282:"Traditional Music: Ceol Tráidisiúnta: Melodic Ornamentation in the Connemara Sean-Nós Singing of Joe Heaney"
1384:
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680:
mordent. Although mordents are now thought of as a single alternation between notes, in the
Baroque period a
600:
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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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524:(which may also indicate a trill); the lower mordent is the same with a short vertical line through it.
1029:, where the delay of the principal note is quick. It is written using a grace note (often a quaver, or
1655:'s compositions, ornaments not included in the score are not allowed, as Brown explains: "Most of the
461:
likely that a trill beginning with the upper note and ending with a turn was envisaged in each case."
167:
are musical flourishes—typically, added notes—that are not essential to carry the overall line of the
3160:
3051:
3026:
2817:
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1640:
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1124:(especially in avant garde pieces), a glissando tends to assume the whole value of the initial note.
1274:'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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1651:'s work, however, there should not be any additional ornament added from a performer. Even in
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and early
Baroque. Trilling on a single note is particularly idiomatic for the bowed strings.
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2695:
1590:
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2016:
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in
English Baroque performance practice. Instruction books from the Baroque period, such as
327:
is a note written in smaller type, with or without a slash through it, to indicate that its
82:
2827:
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2435:
2150:
Passaggi per potersi essercitare nel diminuire (1592); edition with preface by Bruce Dickey
1794:
1648:
130:
2406:
1782:
1010:, "to crush". In the 18th century, it was an ornament applied to any of the main notes of
319:. A number of standard ornaments (described below) are indicated with standard symbols in
8:
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1639:
In the 19th century, performers were adding or improvising ornaments on compositions. As
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prefixed to a principal note and printed in small character, without the oblique stroke:
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is a slide from one note to another, signified by a wavy line connecting the two notes.
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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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embellishment of the divine notation was a vital part of the musical experience."
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spoke warmly of musicians' "sundry good and merry pranks with little runs/leaps".
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2506:
2428:
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520:), and the indicated note again. The upper mordent is indicated by a short thick
206:
in a piece of music can vary from quite extensive (it was often extensive in the
1006:
536:
of the piece, but, at a moderate tempo, the above might be executed as follows:
190:
There are many types of ornaments, ranging from the addition of a single, short
3122:
2835:
2690:
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1753:
1517:
1113:
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320:
2212:
713:"Gruppetto" redirects here. For the group of cyclists behind the peloton, see
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Another realisation can be seen in the table in Pièces de clavecin (1689) by
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1420:
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500:
is a rapid alternation between an indicated note, the note above (called the
418:
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as an ornament in which "a Note is sometimes graced by joyning [
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2026:. Vol. 2 (11th ed.). Cambridge University Press. p. 225.
1741:
1698: in this section. Unsourced material may be challenged and removed.
1117:
879:
809:
630:
328:
324:
256: in this section. Unsourced material may be challenged and removed.
191:
2108:
1596:
1323:(1589), the treatises bring in a new set of expressive devices called
393:, using just the notes of the scale; in other cases, the trill may be
183:. Many ornaments are performed as "fast notes" around a central, main
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3076:
3036:
3001:
2885:
2645:
2547:
1825:
1815:
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below), or in association with some other ornament's indication (see
126:
1673:
231:
24:
2937:
2922:
2765:
2740:
2568:
2463:
2015:
1802:
1757:
1011:
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195:
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2479:
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210:, from 1600 to 1750) to relatively little or even none. The word
172:
1078:'s long appoggiaturas are – to the eye – indistinguishable from
2927:
2865:
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2536:
2521:
2451:
2389:
2220:
Centre for
Research in the Arts, Social Sciences and Humanities
1852:
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289:
168:
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1285:
Until the last decade of the 16th century the emphasis is on
981:
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521:
429:
At a moderate tempo, the above might be executed as follows:
347:
156:
1138:
2635:
1731:
1503:
Regole, passaggi di musica, madrigali e motetti passaggiati
1301:("throat", first used as a term for vocal ornamentation by
987:
958:
952:
946:
931:
854:
848:
842:
827:
176:
1781:
Ornamentation is a major distinguishing characteristic of
839:
836:
725:
placement of the turn mark. For instance, the turns below
449:
In
Baroque music, the trill is sometimes indicated with a
2420:
1278:
periods decorated their music with improvised ornaments.
1253:
1058:
Audio playback is not supported in your browser. You can
940:
899:
Audio playback is not supported in your browser. You can
742:
Audio playback is not supported in your browser. You can
545:
Audio playback is not supported in your browser. You can
438:
Audio playback is not supported in your browser. You can
2180:
2095:, Edited by Walter Carroll & Willard A. Palmer, p. 3
1021:
In the 19th century, the acciaccatura (sometimes called
343:
below), regardless of the timing used in the execution.
284:
In the Baroque period, it was common for performers to
1415:
El libro llamado declaracion de instrumentos musicales
1265:
621:
No. 7, first played with lower mordents, then without.
331:
does not count as part of the total time value of the
1339:(1620) we are also told about fashionable ornaments:
984:
943:
934:
830:
362:
published the first collection of such music for the
2325:
Classical and Romantic Performing Practice 1750–1900
2168:
2156:
2070:
Behind Bars - The definitive guide to music notation
1458:
Motetti, madrigali et canzoni francesi ... diminuiti
833:
1937:
1925:
1033:), with an oblique stroke through the stem. In the
949:
845:
468:There is also a single tone trill variously called
49:. Unsourced material may be challenged and removed.
2232:
1041:long or short has the emphasis on the grace note.
697:periods would begin with the added, upper note. A
2416:. Vol. 27 (11th ed.). pp. 912–915.
1860:; Clements, Andrew; Carter, Tim; Walker, Thomas;
556:Confusion over the meaning of the unadorned word
3173:
676:was generally applied to what is now called the
417:representing the length of the trill, above the
2362:. Princeton: Princeton University Press, 1978.
2047:The New Grove Dictionary of Music and Musicians
1911:The New Grove Dictionary of Music and Musicians
689:(the lesser, added note), rather than with the
1533:Libro primo di mottetti passeggiati à una voce
1467:Passaggi per potersi essercitare nel diminuire
2584:
2436:
1797:music. A singer, fiddler, flautist, harpist,
1372:
1366:
1360:
1352:
1346:
1340:
1260:
397:. The trill is usually indicated by either a
2137:. New York: Edwin F. Kalmus. pp. 65–67.
2036:Robert E. Seletsky, "Acciaccatura (It.; Fr.
2235:Music notation: a manual of modern practice
2132:
1586:Klavierbüchlein für Wilhelm Friedemann Bach
315:Ornamentation may also be indicated by the
194:before a main note to the performance of a
3146:
2591:
2577:
2443:
2429:
1908:Elaine Sisman, "Variations, §4: Origins",
1558:Libro de passaggi ascendenti e descendenti
1485:Breve et facile maniera ... a far passaggi
2286:New Hibernia Review / Iris Éireannach Nua
1747:
1714:Learn how and when to remove this message
672:. In the 19th century, however, the name
272:Learn how and when to remove this message
221:
109:Learn how and when to remove this message
2279:
2260:"Interpretation of Jazz Band Literature"
2224:
2141:
2010:
1622:
1600:
1595:
1191:
1185:
1170:
1164:
1137:
358:", and can be traced back to 1538, when
350:, melodies ornamented upon repetition ("
142:
120:
2147:
1880:10.1093/gmo/9781561592630.article.43315
1380:Key treatises detailing ornamentation:
3174:
1980:: CS1 maint: archived copy as title (
1070:composer and the period. For example,
1025:) came to be a shorter variant of the
878:An appoggiatura is often written as a
660:) was what later came to be called an
125:Extreme example of ornamentation as a
2572:
2424:
2322:
2207:
2186:
2174:
2162:
2103:
2101:
2067:
1943:
1931:
1549:Libro secondo d'arie à una e piu voci
1406:Tratado de glosas sobre clausulas ...
1215:
999:
866:
453:(plus) sign above or below the note.
214:is used specifically to indicate the
2598:
2353:A Performer's Guide to Baroque Music
2230:
1848:
1846:
1696:adding citations to reliable sources
1667:
1433:Libro llamado arte de tañer fantasia
254:adding citations to reliable sources
225:
47:adding citations to reliable sources
18:
1631:
1451:Ricercate, passaggi et cadentie ...
1266:Renaissance and early Baroque music
13:
2355:. London: Faber & Faber, 1975.
2342:
2098:
2093:First Lesson in Bach for the Piano
1086:'s before-the-beat acciaccaturas.
774:
589:
14:
3198:
2382:
1843:
1663:
1555:Giovanni Battista Spadi da Faenza
1190:A "shaken" or trilled Nachschlag
890:This may be executed as follows:
336:
3156:
3155:
3145:
2388:
2257:
1672:
1573:
974:
927:
823:
808:Problems playing this file? See
790:
629:Problems playing this file? See
605:
568:mordent being used, rather than
230:
23:
2273:
2251:
2192:
2126:
2086:
1776:
1683:needs additional citations for
910:
761:
705:lower than the principal note.
666:and what is now often called a
241:needs additional citations for
34:needs additional citations for
2061:
2030:
2004:
1988:
1949:
1902:
1627:D'anglebert-table-of-ornaments
1547:Giovanni Girolamo Kapsberger,
1388:Opera intitulata Fontegara ...
1004:) comes from the Italian verb
300:the second time. Similarly, a
1:
1836:
1385:Silvestro Ganassi dal Fontego
1158:
2133:Dannreuther, Edward (1893).
2072:. Faber Music. p. 128.
2050:, second edition, edited by
1914:, second edition, edited by
1740:ornaments such as "dead" or
1529:Giovanni Girolamo Kapsberger
1122:contemporary classical music
1089:
1055:
896:
739:
560:has led to the modern terms
542:
465:bears the trill indication.
435:
7:
2956:History of music publishing
2327:. Oxford University Press.
1809:
1500:Giovanni Battista Bovicelli
1335:, and by the time we reach
10:
3203:
2450:
2148:Rognoni, Riccardo (2002).
2058:(London: Macmillan, 2001).
1922:(London: Macmillan, 2001).
1542:Selva de varii passaggi...
1261:In Western classical music
1131:
1093:
765:
712:
489:
485:
378:
340:
3161:Category:Musical notation
3141:
3105:
3027:Numbered musical notation
2979:
2946:
2826:
2818:Scientific pitch notation
2709:
2606:
2458:
1856:; McClymonds, Marita P.;
288:ornamentation on a given
2808:Helmholtz pitch notation
2267:The U.S. Army Field Band
2152:. Arnaldo Forni Editore.
2109:"Music Dictionary: N–Nh"
1864:; Libby, Dennis (2001).
1442:Il vero modo diminuir...
1227:The first definition of
1134:Slide (musical ornament)
1127:
1001:[attʃakkaˈtuːra]
868:[appoddʒaˈtuːra]
374:
369:
292:. A singer performing a
218:style of ornamentation.
16:Type of musical flourish
3151:List of musical symbols
3022:Nashville Number System
2413:Encyclopædia Britannica
2280:Williams, Sean (2004).
2023:Encyclopædia Britannica
2001:, Fourth Edition, p. 40
1726:
1155:and the previous one."
1112:All of the intervening
1060:download the audio file
901:download the audio file
744:download the audio file
708:
547:download the audio file
512:) or below (called the
440:download the audio file
2701:Transposing instrument
2231:Read, Gardner (1969).
2068:Gould, Elaine (2011).
1748:Indian classical music
1628:
1617:Jean-Henri d'Anglebert
1611:
1609:
1482:Giovanni Luca Conforti
1394:Adrianus Petit Coclico
1373:
1367:
1361:
1353:
1347:
1341:
1202:
1200:
1181:
1179:
1143:
779:
594:
222:Improvised vs. written
152:
150:
2402:Tovey, Donald Francis
2323:Brown, Clive (2004).
2135:Musical Ornamentation
1626:
1608:
1599:
1564:Johann Andreas Herbst
1217:[ˈnaːxˌʃlaːk]
1199:
1189:
1178:
1168:
1141:
778:
615:The first bar of the
593:
308:(upper or lower) and
149:
124:
58:"Ornament" music
2397:at Wikimedia Commons
2358:Neumann, Frederick.
2017:"Appoggiatura"
1692:improve this article
1430:Tomás de Santa María
1245:The Division Violist
1169:A smooth Nachschlag
250:improve this article
43:improve this article
3187:Musical terminology
3047:Percussion notation
2218:, lecture given at
2211:(29 October 2012),
2189:, pp. 415–425.
1439:Girolamo Dalla Casa
1241:Christopher Simpson
1018:(together-stroke).
733:may be executed as
580:for a mordent in a
337:§ Appoggiatura
2407:"Variations"
2214:Improvising Mozart
1871:Grove Music Online
1629:
1612:
1610:
1509:Aurelio Virgiliano
1476:Prattica di musica
1426:, Wittenberg, 1556
1397:Compendium musices
1280:Michael Praetorius
1203:
1201:
1182:
1180:
1144:
1142:Schleifer notation
1023:short appoggiatura
780:
720:A turn is a short
618:Goldberg Variation
595:
153:
151:
3169:
3168:
3113:Mensural notation
2566:
2565:
2395:Ornaments (music)
2393:Media related to
2349:Donington, Robert
2239:. Allyn and Bacon
1889:978-1-56159-263-0
1724:
1723:
1716:
1606:
1539:Francesco Rognoni
1456:Giovanni Bassano
1337:Francesco Rognoni
1272:Silvestro Ganassi
1197:
1176:
1064:
1027:long appoggiatura
905:
795:
748:
715:Autobus (cycling)
610:
551:
444:
282:
281:
274:
147:
119:
118:
111:
93:
3194:
3159:
3158:
3149:
3148:
3012:Graphic notation
2676:Rehearsal letter
2600:Musical notation
2593:
2586:
2579:
2570:
2569:
2445:
2438:
2431:
2422:
2421:
2417:
2409:
2392:
2338:
2310:
2309:
2277:
2271:
2270:
2264:
2255:
2249:
2248:
2246:
2244:
2238:
2228:
2222:
2217:
2196:
2190:
2184:
2178:
2172:
2166:
2160:
2154:
2153:
2145:
2139:
2138:
2130:
2124:
2123:
2121:
2119:
2113:Dolmetsch Online
2105:
2096:
2090:
2084:
2083:
2065:
2059:
2034:
2028:
2027:
2019:
2008:
2002:
1992:
1986:
1985:
1979:
1971:
1969:
1968:
1959:. Archived from
1953:
1947:
1941:
1935:
1929:
1923:
1906:
1900:
1899:
1897:
1896:
1850:
1737:extemporizations
1719:
1712:
1708:
1705:
1699:
1676:
1668:
1632:Classical period
1607:
1522:Le nuove musiche
1473:Lodovico Zacconi
1464:Riccardo Rognoni
1448:Giovanni Bassano
1376:
1370:
1364:
1358:
1350:
1344:
1322:
1314:Antonio Archilei
1303:Nicola Vicentino
1289:, also known as
1219:
1214:
1198:
1177:
1035:Classical period
1003:
998:
994:
993:
990:
989:
986:
983:
980:
973:
965:
964:
961:
960:
957:
954:
951:
948:
945:
942:
939:
936:
933:
926:
870:
865:
861:
860:
857:
856:
853:
850:
847:
844:
841:
838:
835:
832:
829:
797:
796:
777:
687:inessential note
663:inverted mordent
612:
611:
592:
574:inverted mordent
514:inverted mordent
412:
404:
354:") were called "
277:
270:
266:
263:
257:
234:
226:
202:. The amount of
148:
139:
138:
114:
107:
103:
100:
94:
92:
51:
27:
19:
3202:
3201:
3197:
3196:
3195:
3193:
3192:
3191:
3172:
3171:
3170:
3165:
3137:
3101:
2975:
2966:Music publisher
2961:Music engraving
2942:
2822:
2813:Letter notation
2705:
2602:
2597:
2567:
2562:
2532:Steps and skips
2454:
2449:
2400:
2385:
2345:
2343:Further reading
2335:
2314:
2313:
2278:
2274:
2262:
2256:
2252:
2242:
2240:
2229:
2225:
2204:Wayback Machine
2197:
2193:
2185:
2181:
2173:
2169:
2161:
2157:
2146:
2142:
2131:
2127:
2117:
2115:
2107:
2106:
2099:
2091:
2087:
2080:
2066:
2062:
2035:
2031:
2009:
2005:
1993:
1989:
1973:
1972:
1966:
1964:
1957:"Archived copy"
1955:
1954:
1950:
1942:
1938:
1930:
1926:
1907:
1903:
1894:
1892:
1890:
1851:
1844:
1839:
1818:, ornaments in
1812:
1779:
1750:
1729:
1720:
1709:
1703:
1700:
1689:
1677:
1666:
1634:
1601:
1576:
1567:Musica practica
1491:Girolamo Diruta
1399:Nuremberg, 1552
1316:
1268:
1263:
1247:, refer to the
1212:
1205:
1204:
1192:
1171:
1163:
1136:
1130:
1110:
1109:
1098:
1092:
1067:
1066:
1065:
1063:
1047:
1046:
996:
977:
968:
967:
930:
921:
920:
913:
908:
907:
906:
904:
888:
887:
863:
826:
822:
815:
814:
806:
804:
803:
802:
801:
798:
791:
788:
781:
775:
770:
764:
751:
750:
749:
747:
731:
730:
718:
711:
636:
635:
627:
625:
624:
623:
622:
613:
606:
603:
596:
590:
554:
553:
552:
550:
530:
529:
494:
488:
447:
446:
445:
443:
427:
426:
406:
398:
383:
377:
372:
360:Luis de Narváez
278:
267:
261:
258:
247:
235:
224:
198:and flamboyant
143:
136:
135:
115:
104:
98:
95:
52:
50:
40:
28:
17:
12:
11:
5:
3200:
3190:
3189:
3184:
3167:
3166:
3164:
3163:
3153:
3142:
3139:
3138:
3136:
3135:
3130:
3125:
3120:
3115:
3109:
3107:
3103:
3102:
3100:
3099:
3094:
3089:
3084:
3079:
3074:
3069:
3064:
3059:
3054:
3049:
3044:
3039:
3034:
3029:
3024:
3019:
3014:
3009:
3004:
2999:
2994:
2989:
2983:
2981:
2977:
2976:
2974:
2973:
2968:
2963:
2958:
2952:
2950:
2944:
2943:
2941:
2940:
2935:
2930:
2925:
2920:
2915:
2910:
2909:
2908:
2903:
2898:
2893:
2888:
2883:
2873:
2868:
2863:
2858:
2853:
2848:
2843:
2838:
2832:
2830:
2824:
2823:
2821:
2820:
2815:
2810:
2805:
2800:
2795:
2790:
2785:
2780:
2775:
2774:
2773:
2768:
2763:
2753:
2748:
2743:
2738:
2737:
2736:
2731:
2726:
2715:
2713:
2707:
2706:
2704:
2703:
2698:
2693:
2691:Time signature
2688:
2683:
2678:
2673:
2668:
2663:
2658:
2653:
2648:
2643:
2638:
2633:
2628:
2623:
2618:
2612:
2610:
2604:
2603:
2596:
2595:
2588:
2581:
2573:
2564:
2563:
2561:
2560:
2555:
2550:
2545:
2539:
2534:
2529:
2524:
2519:
2514:
2509:
2504:
2503:
2502:
2492:
2487:
2485:Melodic motion
2482:
2477:
2472:
2467:
2459:
2456:
2455:
2448:
2447:
2440:
2433:
2425:
2419:
2418:
2398:
2384:
2383:External links
2381:
2380:
2379:
2356:
2344:
2341:
2340:
2339:
2333:
2312:
2311:
2292:(1): 122–145.
2272:
2250:
2223:
2191:
2179:
2177:, p. 455.
2167:
2165:, p. 456.
2155:
2140:
2125:
2097:
2085:
2078:
2060:
2042:Zusammenschlag
2029:
2014:, ed. (1911).
2012:Chisholm, Hugh
2003:
1987:
1948:
1946:, p. 499.
1936:
1934:, p. 492.
1924:
1901:
1888:
1862:Heartz, Daniel
1858:Budden, Julian
1841:
1840:
1838:
1835:
1834:
1833:
1828:
1823:
1811:
1808:
1778:
1775:
1754:Carnatic music
1749:
1746:
1728:
1725:
1722:
1721:
1680:
1678:
1671:
1665:
1664:In other music
1662:
1633:
1630:
1575:
1572:
1571:
1570:
1561:
1560:, Venice, 1624
1552:
1545:
1536:
1526:
1518:Giulio Caccini
1515:
1506:
1497:
1494:Il transylvano
1488:
1479:
1478:, Venice, 1592
1470:
1461:
1454:
1445:
1444:, Venice, 1584
1436:
1427:
1424:Pratica musica
1418:
1417:, Ossuna, 1555
1409:
1400:
1391:
1342:portar la voce
1312:Starting with
1297:(in Italian),
1267:
1264:
1262:
1259:
1184:
1183:
1162:
1157:
1132:Main article:
1129:
1126:
1106:
1094:Main article:
1091:
1088:
1057:
1054:
1051:
1043:
1016:Zusammenschlag
912:
909:
898:
895:
892:
884:
873:auxiliary note
805:
799:
789:
784:
783:
782:
773:
772:
771:
766:Main article:
763:
760:
741:
738:
735:
727:
710:
707:
691:principal note
654:equivalent of
640:Baroque period
626:
614:
604:
599:
598:
597:
588:
587:
586:
544:
541:
538:
526:
490:Main article:
487:
484:
437:
434:
431:
423:
379:Main article:
376:
373:
371:
368:
321:music notation
280:
279:
238:
236:
229:
223:
220:
216:French Baroque
208:Baroque period
165:embellishments
117:
116:
31:
29:
22:
15:
9:
6:
4:
3:
2:
3199:
3188:
3185:
3183:
3182:Ornamentation
3180:
3179:
3177:
3162:
3154:
3152:
3144:
3143:
3140:
3134:
3133:Transcription
3131:
3129:
3128:Sight-reading
3126:
3124:
3123:Perfect pitch
3121:
3119:
3116:
3114:
3111:
3110:
3108:
3104:
3098:
3095:
3093:
3090:
3088:
3085:
3083:
3080:
3078:
3075:
3073:
3070:
3068:
3065:
3063:
3060:
3058:
3057:Ancient Greek
3055:
3053:
3050:
3048:
3045:
3043:
3040:
3038:
3035:
3033:
3030:
3028:
3025:
3023:
3020:
3018:
3015:
3013:
3010:
3008:
3005:
3003:
3000:
2998:
2997:Chord diagram
2995:
2993:
2990:
2988:
2987:Braille music
2985:
2984:
2982:
2980:Other systems
2978:
2972:
2969:
2967:
2964:
2962:
2959:
2957:
2954:
2953:
2951:
2949:
2945:
2939:
2936:
2934:
2931:
2929:
2926:
2924:
2921:
2919:
2916:
2914:
2911:
2907:
2904:
2902:
2899:
2897:
2894:
2892:
2889:
2887:
2884:
2882:
2879:
2878:
2877:
2874:
2872:
2869:
2867:
2864:
2862:
2859:
2857:
2854:
2852:
2849:
2847:
2844:
2842:
2839:
2837:
2834:
2833:
2831:
2829:
2825:
2819:
2816:
2814:
2811:
2809:
2806:
2804:
2801:
2799:
2796:
2794:
2791:
2789:
2786:
2784:
2781:
2779:
2776:
2772:
2769:
2767:
2764:
2762:
2759:
2758:
2757:
2754:
2752:
2749:
2747:
2744:
2742:
2739:
2735:
2732:
2730:
2727:
2725:
2722:
2721:
2720:
2717:
2716:
2714:
2712:
2711:Musical notes
2708:
2702:
2699:
2697:
2696:Transposition
2694:
2692:
2689:
2687:
2684:
2682:
2679:
2677:
2674:
2672:
2669:
2667:
2664:
2662:
2659:
2657:
2654:
2652:
2651:Key signature
2649:
2647:
2644:
2642:
2639:
2637:
2634:
2632:
2629:
2627:
2624:
2622:
2619:
2617:
2614:
2613:
2611:
2609:
2605:
2601:
2594:
2589:
2587:
2582:
2580:
2575:
2574:
2571:
2559:
2558:Voice leading
2556:
2554:
2551:
2549:
2546:
2543:
2540:
2538:
2535:
2533:
2530:
2528:
2525:
2523:
2520:
2518:
2515:
2513:
2510:
2508:
2505:
2501:
2498:
2497:
2496:
2493:
2491:
2488:
2486:
2483:
2481:
2478:
2476:
2473:
2471:
2468:
2466:
2465:
2461:
2460:
2457:
2453:
2446:
2441:
2439:
2434:
2432:
2427:
2426:
2423:
2415:
2414:
2408:
2403:
2399:
2396:
2391:
2387:
2386:
2377:
2376:0-691-02707-2
2373:
2369:
2368:0-691-09123-4
2365:
2361:
2357:
2354:
2350:
2347:
2346:
2336:
2330:
2326:
2321:
2320:
2319:
2318:
2307:
2303:
2299:
2295:
2291:
2287:
2283:
2276:
2268:
2261:
2254:
2237:
2236:
2227:
2221:
2216:
2215:
2210:
2209:Levin, Robert
2205:
2201:
2195:
2188:
2183:
2176:
2171:
2164:
2159:
2151:
2144:
2136:
2129:
2114:
2110:
2104:
2102:
2094:
2089:
2081:
2079:9780571514564
2075:
2071:
2064:
2057:
2053:
2052:Stanley Sadie
2049:
2048:
2043:
2039:
2038:pincé étouffé
2033:
2025:
2024:
2018:
2013:
2007:
2000:
1996:
1991:
1983:
1977:
1963:on 2016-10-29
1962:
1958:
1952:
1945:
1940:
1933:
1928:
1921:
1917:
1916:Stanley Sadie
1913:
1912:
1905:
1891:
1885:
1881:
1877:
1873:
1872:
1867:
1863:
1859:
1855:
1854:Westrup, Jack
1849:
1847:
1842:
1832:
1829:
1827:
1824:
1821:
1817:
1814:
1813:
1807:
1804:
1800:
1796:
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1788:
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1767:
1763:
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1755:
1745:
1743:
1738:
1733:
1718:
1715:
1707:
1697:
1693:
1687:
1686:
1681:This section
1679:
1675:
1670:
1669:
1661:
1658:
1657:chamber music
1654:
1650:
1645:
1642:
1637:
1625:
1621:
1619:
1618:
1598:
1594:
1592:
1588:
1587:
1581:
1580:Baroque music
1578:Ornaments in
1574:Baroque music
1568:
1565:
1562:
1559:
1556:
1553:
1550:
1546:
1543:
1540:
1537:
1534:
1530:
1527:
1524:
1523:
1519:
1516:
1513:
1510:
1507:
1505:, Venice 1594
1504:
1501:
1498:
1495:
1492:
1489:
1486:
1483:
1480:
1477:
1474:
1471:
1469:, Venice 1592
1468:
1465:
1462:
1460:, Venice 1591
1459:
1455:
1453:, Venice 1585
1452:
1449:
1446:
1443:
1440:
1437:
1434:
1431:
1428:
1425:
1422:
1421:Hermann Finck
1419:
1416:
1413:
1410:
1407:
1404:
1401:
1398:
1395:
1392:
1390:, Venice 1535
1389:
1386:
1383:
1382:
1381:
1378:
1375:
1369:
1363:
1357:
1356:
1349:
1343:
1338:
1334:
1330:
1326:
1320:
1315:
1310:
1308:
1305:in 1555), or
1304:
1300:
1296:
1292:
1288:
1283:
1281:
1277:
1273:
1258:
1256:
1255:
1250:
1246:
1242:
1238:
1234:
1230:
1225:
1223:
1218:
1210:
1188:
1167:
1161:
1156:
1153:
1149:
1140:
1135:
1125:
1123:
1119:
1115:
1105:
1103:
1097:
1087:
1085:
1081:
1077:
1073:
1061:
1050:
1042:
1040:
1036:
1032:
1028:
1024:
1019:
1017:
1013:
1009:
1008:
1002:
992:
971:
963:
924:
918:
902:
891:
883:
881:
876:
874:
869:
859:
820:
813:
811:
787:
769:
759:
755:
745:
734:
726:
723:
716:
706:
704:
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688:
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669:lower mordent
665:
664:
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583:
582:musical score
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518:lower mordent
515:
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381:Trill (music)
367:
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310:appoggiaturas
307:
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239:This section
237:
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204:ornamentation
201:
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134:Nocturne in D
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99:November 2018
91:
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60: –
59:
55:
54:Find sources:
48:
44:
38:
37:
32:This article
30:
26:
21:
20:
3032:Klavarskribo
3007:Figured bass
2881:Appoggiatura
2875:
2828:Articulation
2626:Abbreviation
2494:
2462:
2411:
2359:
2352:
2324:
2316:
2315:
2289:
2285:
2275:
2266:
2258:Brye, John.
2253:
2241:. Retrieved
2234:
2226:
2213:
2200:Ghostarchive
2198:Archived at
2194:
2182:
2170:
2158:
2149:
2143:
2134:
2128:
2118:February 26,
2116:. Retrieved
2112:
2092:
2088:
2069:
2063:
2056:John Tyrrell
2045:
2041:
2037:
2032:
2021:
2006:
1999:Counterpoint
1998:
1990:
1965:. Retrieved
1961:the original
1951:
1939:
1927:
1920:John Tyrrell
1909:
1904:
1893:. Retrieved
1869:
1799:tin whistler
1780:
1777:Celtic music
1771:
1765:
1761:
1751:
1730:
1710:
1701:
1690:Please help
1685:verification
1682:
1646:
1638:
1635:
1615:
1613:
1584:
1577:
1566:
1557:
1551:, Rome, 1623
1548:
1541:
1535:, Rome, 1612
1532:
1520:
1514:, MS, c.1600
1512:Il Dolcimelo
1511:
1502:
1493:
1484:
1475:
1466:
1457:
1450:
1441:
1432:
1423:
1414:
1412:Juan Bermudo
1408:, Rome, 1553
1405:
1396:
1387:
1379:
1368:esclamatione
1332:
1328:
1324:
1311:
1306:
1298:
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1269:
1252:
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1159:
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1145:
1111:
1099:
1068:
1048:
1039:appoggiatura
1038:
1026:
1022:
1020:
1015:
1005:
917:acciaccatura
916:
914:
911:Acciaccatura
889:
877:
872:
819:appoggiatura
816:
807:
786:Appoggiatura
768:Appoggiatura
762:Appoggiatura
756:
752:
732:
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643:
637:
628:
616:
573:
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531:
517:
513:
509:
508:, or simply
506:pralltriller
505:
501:
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473:
469:
467:
463:
455:
450:
448:
428:
414:
408:
407:
400:
399:
384:
345:
341:§ Trill
314:
294:da capo aria
290:melodic line
283:
268:
259:
248:Please help
243:verification
240:
211:
203:
189:
164:
160:
154:
105:
96:
86:
79:
72:
65:
53:
41:Please help
36:verification
33:
3118:Music stand
2992:Chord chart
2971:Scorewriter
2948:Sheet music
2746:Dotted note
2681:Repeat sign
2656:Ledger line
1995:Kent Kennan
1795:Cape Breton
1742:ghost notes
1487:, Rome 1593
1403:Diego Ortiz
1317: [
1291:diminutions
1031:eighth note
1012:arpeggiated
480:Renaissance
413:, with the
356:diferencias
302:harpsichord
3176:Categories
3092:Shakuhachi
3067:Ekphonetic
3052:Simplified
3017:Lead sheet
2891:Grace note
2756:Note value
2751:Grace note
2719:Accidental
2334:0195166655
2243:15 January
2187:Brown 2004
2175:Brown 2004
2163:Brown 2004
1967:2018-12-04
1944:Brown 2004
1932:Brown 2004
1895:2020-09-18
1837:References
1704:April 2017
1641:C.P.E Bach
1229:Nachschlag
1222:Nachschlag
1209:Nachschlag
1160:Nachschlag
1118:portamento
1080:Mussorgsky
1007:acciaccare
880:grace note
810:media help
631:media help
329:note value
325:grace note
262:March 2019
192:grace note
69:newspapers
3087:Swaralipi
3077:Kunkunshi
3037:Tablature
3002:Eye music
2886:Glissando
2861:Fingering
2646:Dal segno
2548:Ululation
2370:(cloth);
2298:1092-3977
1826:Ribattuta
1816:Dreydlekh
1649:Beethoven
1591:J.S. Bach
1374:intonatio
1287:divisions
1207:The word
1152:Schleifer
1102:glissando
1096:Glissando
1090:Glissando
1084:Prokofiev
915:The word
695:Classical
395:chromatic
352:divisions
286:improvise
196:virtuosic
161:ornaments
127:fioritura
3097:Znamenny
2938:Tonguing
2923:Staccato
2876:Ornament
2851:Dynamics
2803:Interval
2766:Notehead
2741:Cue note
2544:(figure)
2527:Sequence
2512:Phrasing
2495:Ornament
2475:Interval
2464:Balungan
2404:(1911).
2306:20557912
2202:and the
1976:cite web
1810:See also
1791:Scottish
1766:kampitam
1758:Sanskrit
1295:passaggi
1237:springer
1114:diatonic
997:Italian:
864:Italian:
703:semitone
652:Scottish
601:Mordents
478:in late
391:diatonic
317:composer
306:mordents
212:agrément
137:♭
131:Chopin's
3106:Related
3072:Gamelan
3062:Chinese
3042:Parsons
2913:Portato
2896:Mordent
2871:Marcato
2856:Fermata
2846:Damping
2841:Caesura
2798:Tremolo
2729:natural
2641:Da capo
2507:Pattern
2480:Melisma
2470:Cadence
2317:Sources
2040:; Ger.
1820:klezmer
1355:tremolo
1348:accento
1333:cascate
1276:Baroque
1213:German:
1082:'s and
1074:'s and
682:mordant
674:mordent
657:mordent
644:mordant
638:In the
570:mordent
558:mordent
510:mordent
498:mordent
492:Mordent
486:Mordent
475:tremolo
364:vihuela
173:harmony
83:scholar
2928:Tenuto
2866:Legato
2836:Accent
2793:Tuplet
2537:Timbre
2522:Rhythm
2452:Melody
2378:(pbk).
2374:
2366:
2331:
2304:
2296:
2076:
1886:
1866:"Aria"
1793:, and
1762:gamaka
1756:, the
1653:Mozart
1569:, 1642
1544:, 1620
1525:, 1602
1496:, 1593
1435:, 1565
1362:gruppo
1329:trillo
1325:graces
1307:glosas
1299:gorgia
1249:cadent
1233:cadent
1072:Mozart
722:figure
648:German
578:symbol
470:trillo
298:trills
169:melody
85:
78:
71:
64:
56:
3082:Neume
2906:Trill
2901:Slide
2788:Tacet
2778:Pitch
2734:sharp
2686:Tempo
2671:Scale
2666:Ossia
2608:Staff
2553:Voice
2517:Pitch
2500:Trill
2490:Motif
2302:JSTOR
2263:(PDF)
1831:Glosa
1822:music
1803:piper
1787:Irish
1783:Welsh
1760:term
1321:]
1270:From
1235:or a
1148:slide
1128:Slide
1120:. In
1076:Haydn
699:lower
678:upper
646:(the
566:lower
562:upper
534:tempo
522:tilde
419:staff
405:or a
387:trill
375:Trill
370:Types
348:Spain
200:trill
181:piece
157:music
140:major
129:from
90:JSTOR
76:books
2918:Slur
2783:Rest
2771:stem
2761:beam
2724:flat
2661:Mode
2636:Clef
2542:Type
2372:ISBN
2364:ISBN
2329:ISBN
2294:ISSN
2245:2012
2120:2019
2074:ISBN
2054:and
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1982:link
1918:and
1884:ISBN
1732:Jazz
1727:Jazz
1371:and
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1150:(or
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564:and
458:Koch
409:tr~~
185:note
177:song
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