Appoggiatura

Appoggiatura ( ital. Appoggiare : to lean), dt .: Proposal , describes an ornament in instrumental and vocal music.

It consists of one or more tones that are inserted between two melody tones (often upper or lower second ) and are usually connected as legato . The decoration can be done on the beat of the main note and then shortens it accordingly, or before the main note, and then shortens the previous note.

Suggestions are often noted as small grades, but can also be written out as normal grades.

In the old Spanish music literature ( e.g. in works by Gaspar Sanz ) one differentiates between an ascending appoggiatura ( apoyamento , Italian appoggiamento ) and a descending appoggiatura ( esmorsata , Italian smorsiato ).

Measure position and length

Around the middle of the 18th century, rules were drawn up as to the position in the bar and with what length suggestions, which are notated as small notes, should be sung or played.

Johann Joachim Quantz distinguishes between “striking” suggestions that begin on the beat position of the main note and “continuous” suggestions that come before this position (according to him, a “French variety”).

Carl Philipp Emanuel Bach, on the other hand, demands that every suggestion should always begin on the beat of the main note. He divides the proposals into "changeable", the length of which should be derived from the rhythmic value of the main note, and "unchangeable", which "are always briefly dealt with". Instead, Leopold Mozart simply speaks of “long” and “short” proposals.

However, these authors agree that the long (striking, changeable) proposal:

• half of the main grade (example a),
• in the case of a dotted main grade two thirds of its value (example b),
• in the case of a main note before a rest, its entire value (example c), and
• for main notes that are extended by a tie, the value up to this slur (example d)

should take:

However, the scope of these rules is controversial. So u wonder. a. to what extent the rules of CPE Bach are also applicable to his father's music.

Articulation and dynamics

For the long suggestion, lectures around 1750 demand, in addition to the connection to the main note in legato, that it should be performed louder than the main note or that it should have a crescendo . The way of playing, in which the volume of the main note is clearly reduced, is called “deduction” in some treatises.

From the 19th century onwards, long proposals are usually put out to tender. It is therefore the task of the interpreter to recognize them as such in the music text so that they retain their characteristic articulation and dynamics.

Different types of appoggiatura intonations on the guitar

An appoggiatura is performed on the guitar, similar to a portamento, either as a sliding movement ("slide"), as a pull-off or hammer-on ("legato style") or as a bending or release. The type of appoggiatura is rarely evident from the typical notes that guitarists use.

See also

• Acciaccatura
• Appoggiato

Sources and literature (chronological)

• Johann David Heinichen : The general bass in the composition. Dresden 1728 ( digitized version ).
• Francesco Geminiani : The Art of playing on the Violin op.9, London 1751.
• Johann Joachim Quantz : Attempting an instruction to play the flute traverse . JF Voss, Berlin 1752 ( Wikisource ; archive.org ).
• Carl Philipp Emanuel Bach : Attempt on the true way of playing the piano . Part 1, Berlin 1753 ( online) .
• Friedrich Wilhelm Marpurg : Instructions for playing the piano . Berlin 1755 ( online) .
• Leopold Mozart : Attempt at a thorough violin school . Augsburg 1756, chap. 9 ( online) .
• Johann Georg Sulzer : Art. Suggestion . In: General Theory of Fine Arts. Leipzig 1774 ( online) .
• Heinrich Christoph Koch : Art. Suggestion . In: Musical Lexicon . Frankfurt 1802 ( online) .
• Frederick Neumann: Ornamentation in Baroque and Post-Baroque Music, with Special Emphasis on JS Bach . Princeton University Press, Princeton 1978, ISBN 0-691-09123-4 (linen), ISBN 0-691-02707-2 (paperback).

Individual evidence

1. ↑ Earlier evidence for "Proposal": Heinichen 1728, p. 525.
2. ↑ Bach 1753, p. 63.
3. ^ Nieves Pascual León: La interpretación musical en torno a 1750. Estudio crítico de los principales tratados instrumentales de la época a partir de los contenidos epuestos en la violon school de Leopold Mozart. Ediciones Universidad Salamanca 2016 (= Música viva. Volume 2), ISBN 978-84-9012-726-1 , p. 239.
4. ↑ Jerry Willard (Ed.): The complete works of Gaspar Sanz. 2 volumes, Amsco Publications, New York 2006 (translation of the original manuscript by Marko Miletich), ISBN 978-0-8256-1695-2 , Volume 1, p. 22.
5. ↑ Quantz 1752, p. 78.
6. ↑ Bach 1753, p. 70.
7. ↑ Bach 1753, pp. 63–66.
8. ↑ Mozart 1756, p. 194.
9. ↑ Examples from Quantz 1752, Tab. VI. Further special cases in Bach, Tab. III, Fig. VI-VII.
10. ↑ See e.g. B. Neumann 1978.
11. ↑ Geminiani 1751, p. 7; Mozart 1756, p. 199.
12. ↑ Quantz 1752, p. 78; Bach 1753, p. 64; Marpurg 1755, p. 48.