{"id":2349,"date":"2016-09-30T20:24:16","date_gmt":"2016-09-30T20:24:16","guid":{"rendered":"http:\/\/casfaculty.case.edu\/ross-duffin\/?page_id=2349"},"modified":"2017-02-02T19:55:46","modified_gmt":"2017-02-02T19:55:46","slug":"muhi-baroque-ornamentation-i-placement-rules","status":"publish","type":"page","link":"https:\/\/casfaculty.case.edu\/ross-duffin\/muhi-ornamentation-i-agrements\/muhi-baroque-ornamentation-i-placement-rules\/","title":{"rendered":"MUHI Baroque Ornamentation I Placement “Rules”"},"content":{"rendered":"
\u00a0<\/div>\n

Introduction:<\/p>\n

\n

“Rules” for Agr\u00e9ment Placement<\/span><\/p>\n<\/div>\n

\n

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 agr\u00e9ment 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<\/b> be applied. Besides, some music has little or no written ornamentation, so the ability to improvise something appropriate is essential in such cases.<\/p>\n<\/div>\n

 <\/p>\n

Cadence appuy\u00e9e<\/i> may be introduced<\/b><\/h2>\n

1.\u00a0 At every authentic cadence<\/b> on the penultimate strong beat<\/b>, especially if the cadence note is preceded by a dotted formula indicating a liaison<\/i> or tour de gosier<\/i>, either ascending to the cadence or descending, as in Exx. 2b & 2d:<\/p>\n

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

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

2. On a long note approached from above<\/b>, if it is the lower note of a half-step (mi) or the note one step below that (re), as in Ex. 11:<\/p>\n

\"orn11\"<\/a><\/p>\n

3. On a long note preceded by another note at the same pitch<\/b>, especially\u2014but not exclusively\u2014if it is the lower note of a half-step, as in Ex. 12a:<\/p>\n

\"orn12a\"<\/a><\/p>\n

4. On all dotted notes from which the melody descends<\/b>, as in Ex. 12b:<\/p>\n

\"orn12b\"<\/a><\/p>\n

 <\/p>\n

\u00a0<\/div>\n

Cadence subite<\/i> may be introduced<\/b><\/h2>\n

5.\u00a0 On a long note approached from below<\/b> if it is the lower note of a half-step (mi) or the note one step below that (re), as in Ex. 13:<\/p>\n

\"orn13\"<\/a><\/p>\n

 <\/p>\n

Cadence li\u00e9e<\/i> may be introduced<\/b><\/h2>\n

6.\u00a0 On a long note approached stepwise from above<\/b> if it is slurred to the preceding note,
\n as in Ex. 3<\/p>\n

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

 <\/p>\n

Cadence imparfaite<\/i> may be introduced<\/b><\/h2>\n

7.\u00a0 On a short note approached from above<\/b> if it is the lower note of a half-step (mi) or the note one step below that (re), as in Ex. 14:<\/p>\n

\"orn14-15\"<\/a><\/p>\n

8.\u00a0 On the 3rd, 5th, and\/or 7th notes of a descending scale passage<\/b>, or on the 2nd, 4th, and\/or 6th notes if the passage begins with an upbeat<\/b>, as in Ex. 15.<\/p>\n

 <\/p>\n

\u00a0<\/div>\n

Double cadence<\/i> may be introduced<\/b><\/h2>\n

9.\u00a0 At every important cadence, either descending or ascending, that is compatible with the rhythm, that is, with two successive dotted-note formulas<\/b>, as in Exx. 6 & 16:<\/p>\n

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

\"orn16\"<\/a><\/p>\n

 <\/p>\n

Mordent (Pinc\u00e9)<\/i> may be introduced<\/b><\/h2>\n

10.\u00a0 On a long note approached by skip<\/b>, from below or above, if it is the upper note of a half-step (fa), as in Ex. 17a.<\/p>\n

11. On a short note approached from below if it is the upper note of a half-step<\/b> (fa) and occupies a strong rhythmic position, as in Ex. 17e.<\/p>\n

12. On the initial note of a piece or phrase<\/b>.<\/p>\n

\"orn17\"<\/a><\/p>\n

 <\/p>\n

Port de Voix<\/i> may be introduced<\/b><\/h2>\n

13.\u00a0 On a long note approached by half-step from below<\/b>, as in Ex. 17d.<\/p>\n

14. On a long note approached by whole step from below<\/b>, but in this use it may be replaced by apinc\u00e9<\/i>, as in Ex. 17b.<\/p>\n

15. On a long note approached by 4th from below<\/b>, using the 4th instead of the semitone as the “appoggiatura,” as in Ex. 17a.<\/p>\n

\"orn17-1\"<\/a><\/p>\n

 <\/p>\n

Appoggiatura<\/i> may be introduced<\/b><\/h2>\n

16.\u00a0The appoggiatura<\/i> may replace the trill, wherever the trill is appropriate, except at cadences.<\/p>\n

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

\u00a0<\/p>\n

Introduction:<\/p>\n

“Rules” for Agr\u00e9ment Placement<\/p>\n

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 agr\u00e9ment 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<\/b> be applied. Besides, some music has little or no written ornamentation, so the ability to improvise something appropriate is essential in such cases.<\/p>\n

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