Dear Arto and Mathias,
I think Leif Karlson is right. French ornaments normally begin with an
appoggiatura, which is notated by a comma. The appoggiatura may or may
not be followed by a trill depending on the circumstances.
A baroque trill consists of three elements:
1) An appoggiatura, i.e. play the note above the written note first
(b2).
2) A trill with as many turns as you can sensibly fit in (a2 b2 a2 b2
a2).
3) A termination (optional) which rounds off the trill (d3 a2).
|\ |\ |\ |\ |\ |
| | |\ |\ |\ |
| | |\ | |\ |
| | |\ |. |\ |
___________________________________________
_______a__|__b___a_b_a_b_a_______a______|__
___d______|___________________d_____d___|__
__________|__c__________________________|__
__________|_____________________________|__
__________|_____________________________|__
The reason for having an appoggiatura is to create dissonance at the
start of it all, which resolves itself amongst a flurry of notes. To
enjoy the dissonance you should hold onto the dissonant note - lean on
it and savour it before proceeding. It is this dissonance which
contributes to the characteristic sound of French music.
Best wishes,
Stewart McCoy.
-----Original Message-----
From: [email protected] [mailto:[email protected]] On
Behalf Of Mathias Rösel
Sent: 06 April 2012 12:05
To: [email protected]
Subject: [BAROQUE-LUTE] Re: The rhythm shape of French cadences?
> |\ | |\ |
> | | |\ |
> | |. | |
> ________________________________
> _______a__|__a,______a_______|__
> ___d______|________d_____d___|__
> __________|__c_______________|__
> __________|__________________|__
> __________|__________________|__
>
>
> My former lute teacher, Leif Karlson - a student of Michael Schaeffer,
btw
-
> once suggested to this kind of example the shape (in d-minor tuning):
> c-d in two | eb-d-eb in 3, d-eb-d-c-d in 5, c in 1 |
> So something like "even - trioli - quintoli" He later on denied
this
solution, anyhow...
> How do you interprete this type of cadence?
Perhaps a bit old-fashioned, I take the main note as the most important.
I
have often heard players immediately start "a trill beginning the upper
auxiliary note" that fastens quickly. But for me, the actual ornament is
two-fold, i.e. back-fall first, then a trill. And I like fastening, but
not
premature, trills.
Since the main note is dotted, the back-fall should take two thirds of
it.
Only on the 3rd third it's time for the trill which necessarily will be
a
short upper mordent, so that the main note will eventually stand for a
very
short moment, before the final quick two notes come in.
Mathias
> By the way, today I walked 1.5 hours in the woods. And nearly all the
time
I was
> trying to get 2|3|5|1 to match to my steps... Perhaps it should sound
like
letting
> a coin drop in between your fingers against the table. Also the sound
getting
> more silent could match to the idea?
>
> Who knows what that shape really was?
>
> Best,
>
> Arto
>
>
>
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