{"id":2300,"date":"2016-09-30T19:49:03","date_gmt":"2016-09-30T19:49:03","guid":{"rendered":"http:\/\/casfaculty.case.edu\/ross-duffin\/?page_id=2300"},"modified":"2017-02-02T19:55:46","modified_gmt":"2017-02-02T19:55:46","slug":"muhi-3441-baroque-ornamentation-cadences-trills","status":"publish","type":"page","link":"https:\/\/casfaculty.case.edu\/ross-duffin\/muhi-ornamentation-i-agrements\/muhi-3441-baroque-ornamentation-cadences-trills\/","title":{"rendered":"MUHI 3\/441 Baroque Ornamentation Description Cadences (Trills)"},"content":{"rendered":"

 <\/p>\n

Trill<\/b> (cadence<\/i> or tremblement<\/i>) consists basically of an indefinite number of alternations of the upper auxiliary and the written note (Ex. 1):<\/p>\n

\"bar-trill-orn1\"<\/a><\/p>\n

<\/p>\n
<\/p>\n

In performance it has three variable components:<\/b><\/p>\n

1.\u00a0 Appuy<\/b><\/i>:\u00a0 appoggiatura, or preparation (the note above<\/b> the note that has the trill sign)<\/p>\n

2. Battemens<\/b>: <\/i>beats, alternations, or repercussions of the two notes<\/p>\n

3. Endings<\/b>: <\/i>consisting of three possibilities:<\/p>\n

a) Liaison<\/b>:<\/i> where the note of resolution is preceded by an anticipation (Ex. 2a):<\/p>\n

\"orn2a\"<\/a><\/p>\n

 <\/p>\n

b) Tour de gosier<\/b>:<\/i> where a turn leads to the note of resolution (Ex 2b):<\/p>\n

\"orn2b\"<\/a><\/p>\n

 <\/p>\n

c) Point d’arr\u00eat<\/b>:<\/i> where the trill stops on the written note before resolving directly (Ex 2c):<\/p>\n

\"orn2c\"<\/a><\/p>\n

\n<\/div>\n

<\/p>\n

Methods of Performance of the Trill<\/b><\/p>\n

1. Cadence apuy\u00e9e<\/b><\/i>: Preparation held about half the time (Ex. 2d):<\/p>\n

\"orn2d\"<\/a><\/p>\n

 <\/p>\n

2. Cadence subite<\/b><\/i>: Preparation not held; beats begin immediately (as in Ex. 1):<\/p>\n

\"bar-trill-orn1\"<\/a><\/p>\n

 <\/p>\n

3.Cadence li\u00e9e<\/b><\/i>:\u00a0\u00a0\u00a0\u00a0 Tied trill \u2014 preceding note (M or m 2nd above) slurred to the trilled note, and in performance tied over into the beginning of the trilled note, so the appuy itself is not articulated (Ex. 3):<\/p>\n

\"orn3\"<\/a><\/p>\n

 <\/p>\n

4. Cadence imparfaite<\/i>: Short trill on rapid note (called imperfect because it lacks held preparation and ending).\u00a0 Four notes is enough (Ex. 4):<\/p>\n

\"orn4\"<\/a><\/p>\n

 <\/p>\n

5. Cadence coul\u00e9e<\/b><\/i>: Trill with introductory turn (Ex. 5):<\/p>\n

\"orn5\"<\/a><\/p>\n

 <\/p>\n

6. Double cadence<\/b><\/i>: Trill at cadence extended backwards with a mordent and turn on the preceding dotted note.\u00a0 The sign-post is two consecutive dotted figures in the notation approaching a cadence.\u00a0 The three ornaments should be played without interruption (Ex. 6a & 6b):<\/p>\n

\"orn6a\"<\/a><\/p>\n

\"orn6b\"<\/a><\/p>\n

\n<\/div>\n

<\/div>\n

Back to Multimedia Menu<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

 <\/p>\n

Trill<\/b> (cadence<\/i> or tremblement<\/i>) consists basically of an indefinite number of alternations of the upper auxiliary and the written note (Ex. 1):<\/p>\n

<\/a><\/p>\n

Back to Multimedia Menu<\/a><\/p>\n

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