Introduction:
“Rules” for Agrément Placement
Knowing how to execute an ornament based on the sign given in the music is important, but it’s only part of ornamenting baroque music. It also important to be able to decide what agrément is appropriate according to the context, when there is no sign. This is because, while some music has plenty of ornament signs written in the music, there is always more ornamentation that could be applied. Besides, some music has little or no written ornamentation, so the ability to improvise something appropriate is essential in such cases.
Cadence appuyée may be introduced
1. At every authentic cadence on the penultimate strong beat, especially if the cadence note is preceded by a dotted formula indicating a liaison or tour de gosier, either ascending to the cadence or descending, as in Exx. 2b & 2d:
2. On a long note approached from above, if it is the lower note of a half-step (mi) or the note one step below that (re), as in Ex. 11:
3. On a long note preceded by another note at the same pitch, especially—but not exclusively—if it is the lower note of a half-step, as in Ex. 12a:
4. On all dotted notes from which the melody descends, as in Ex. 12b:
Cadence subite may be introduced
5. On a long note approached from below if it is the lower note of a half-step (mi) or the note one step below that (re), as in Ex. 13:
Cadence liée may be introduced
6. On a long note approached stepwise from above if it is slurred to the preceding note,
as in Ex. 3
Cadence imparfaite may be introduced
7. On a short note approached from above if it is the lower note of a half-step (mi) or the note one step below that (re), as in Ex. 14:
8. On the 3rd, 5th, and/or 7th notes of a descending scale passage, or on the 2nd, 4th, and/or 6th notes if the passage begins with an upbeat, as in Ex. 15.
Double cadence may be introduced
9. At every important cadence, either descending or ascending, that is compatible with the rhythm, that is, with two successive dotted-note formulas, as in Exx. 6 & 16:
Mordent (Pincé) may be introduced
10. On a long note approached by skip, from below or above, if it is the upper note of a half-step (fa), as in Ex. 17a.
11. On a short note approached from below if it is the upper note of a half-step (fa) and occupies a strong rhythmic position, as in Ex. 17e.
12. On the initial note of a piece or phrase.
Port de Voix may be introduced
13. On a long note approached by half-step from below, as in Ex. 17d.
14. On a long note approached by whole step from below, but in this use it may be replaced by apincé, as in Ex. 17b.
15. On a long note approached by 4th from below, using the 4th instead of the semitone as the “appoggiatura,” as in Ex. 17a.
Appoggiatura may be introduced
16. The appoggiatura may replace the trill, wherever the trill is appropriate, except at cadences.