trill

from Wikipedia, the free encyclopedia

A trill (from Italian (onomatopoeic) trillo ), French tremblement (English trill ), is an ornament in music : over the duration of the main note, the notated main note and the overlying secondary note ( semitone step or whole step ) are played in rapid alternation .

notation Execution before 1800 Execution after 1800
OrnamentsTrillerNB1.png OrnamentsTrillerNB2.png

Audio file / audio sample Audio sample ? / i

OrnamentsTrillerNB3.png

Audio file / audio sample Audio sample ? / i

Before 1800, the trill usually begins with the upper secondary note, which, however, did not have to be notated. However, there were already in the 16-18 Century trills that started with the main note, especially in Italian music. A short trill in which the upper secondary note is only struck once or twice is called a Pralltrill or Praller . In French music, there was a trill in which the upper secondary note is lengthened ( tremblement appuyé ), and a tied trill ( tremblement lié ), which is attached to the preceding upper secondary note with a legato slur to show that it is not repeated is posted. The trill is usually given a look-up at the end of a melodic phrase in a cadenza . Johann Joachim Quantz generally asks for a lookup; other authors, such as Leopold Mozart and Carl Philipp Emanuel Bach , also mention other ways of ending the trill. In addition, especially in the Baroque period, but also later, there were trills that begin with the lower secondary note or with a double beat from above or below.

The notation and playing style of the trills after the beginning of the 19th century
Trill with a lowered or raised upper secondary note

In the 19th century the trill became popular with the beginning of the main note (left figure; notation often also without the extension line Trillline.jpg). If you want to start a trill with the secondary note from 1800, you have to add a short suggestion. However, the transition from one to the other convention seems to have taken place more slowly than is often assumed. In 1815 Johann Baptist Cramer still asked to start the trill with the upper secondary note: "The trillo begins on the higher note and ends with the main note, because at the end there is usually a look-up." First the major instrumental schools from the period after Beethoven ( Johann Nepomuk Hummel , Louis Spohr and others) only mention the possibility of starting the trill with the main note.

A chromatic change is noted above the trill with the change sign ♯ or ♭. Otherwise on the suggestion note (especially in orchestral literature, the given notes are also found as small, bracketed noteheads next to the main note or precise instructions such as “whole tone” or “semitone”). On the right in the picture you can see the notation of these modified trills and their playing style, although depending on the key they may differ from this example.

Notation Practice

Thomas Tomkins, excerpt from “The hunting Galliard”, Fitzwilliam Virginal Book (1st quarter 17th century). Example of numerous written out trills with a look-up
Claudio Merulo, excerpt from Toccata 7, Libro 1, Roma 1598. Example of written "tremoletti" and other types of trills ("groppi")

In the 16th and early 17th centuries, trills were often written out, e.g. B. in the English virginal music by William Byrd , John Bull and their contemporaries, and in the Italian organ or harpsichord music by Andrea Gabrieli , Claudio Merulo , Girolamo Frescobaldi and others. a. The same applies to virtuoso Italian solo madrigals and arias, e.g. B. in Giulio Caccini's Le Nuove Musiche (1601 and 1614). In Italy at the end of the 16th and beginning of the 17th centuries there were already several treatises explaining trills and other forms of ornamentation, not least as instructions for improvisation. Some well-known tracts are e.g. B. by Girolamo Diruta Il Transilvano (1593; for keyboard instruments) or by Francesco Rognoni Selva dei vari passaggi ... (1620; for voice and "all kinds of instruments"); also Michael Praetorius explains Italian ornaments in his Syntagma Musicum (1614-1619). It is very important to know that the names of the ornaments were often different at that time: a trill with a suffix was called “gruppo” or “groppo”, and it could begin with both the main note and the upper secondary note. Small two- lever impact trills (starting from the main note) are called “tremoletto” in Diruta ; these are found mainly in Claudio Merulo, and can be on the note, before the note and even half before and half on the note. A “trillo” at this time is a beat on a note that starts slowly and gets faster and faster; this type of ornament is sometimes heard from historically well-informed and trained singers in vocal music by Caccini, Monteverdi, or Cavalli. It was also described by Praetorius, and should actually be used in early baroque German music by Schütz and Praetorius - just like all kinds of “groppi”, ie “real” cadence trills.

There have been various abbreviations for the trill since the 16th century, depending on the country and epoch. In Spain in the 16th and 17th centuries there was a trill beginning with a double strike from below, which was called "Redoble" . Correa de Arauxo therefore designated it in 1626 with an "R". In England the trill was called “shake”, a symbol that consisted of two parallel horizontal stripes was used, something like this: //. In France the trill was called “cadence” (simple trill) or “double cadence” (tr. With a suffix ), later also “tremblement” (e.g. in d'Anglebert and F. Couperin ), and one usually used one Wavy line since the first ornament tables in 1665 in the first Livre d'orgue (organ book) by Guilaume-Gabriel Nivers and the Pièces de Clavessin by Chambonnières 1670. For other instruments, e.g. B. in French violin music, there was also a cross as a symbol for the trill. In Italy in the 17th century, a simple "t" was common as a sign - as an abbreviation for "tremolo" or "tremuletto" (the Italian word for trill or a small trill (impact trill)), or (later) for "trillo" (spanish trino ). This was also adopted by German composers. The “tr” , which is still common today, developed from the simple “t ”. This is z. B. used by Mattheson and Agricola . Composers such as Johann Sebastian Bach , Handel and Carl Philipp Emanuel Bach used both the French wavy line and the abbreviation "tr". Joh. Seb. Bach also uses more complex types of trills, which he probably got from d'Anglebert, F. Couperin or Georg Muffat . All these signs are notated above the note in question for melody instruments or voices, above or below the note for keyboard music, depending on the voice in which the trill is to appear.

Furthermore, even in the notation for percussion, such as the timpani or the triangle, actual tremolos or pegs are often provided with a trill beaters, although these are not at all.

When playing chords ( strumming ) in the Baroque era, for example, Italian guitarists of the 17th century spoke of the trillo (plural trilli ) when a notated chord was to be played as a double, triple or quadruple strike. The performance practice of trillo and the similar repicco (thumb / index finger change when double striking the chords) is described by the guitarists Giovanni Battista Abatessa and Giovanni Paolo Foscarini as well as James Tyler.

Using the trill

The trill is used particularly abundantly in the music of the 16th to 18th centuries. It was an indispensable part of music from the Renaissance and Baroque to the Classical and was intended to give the music a glittering "shine" and "shimmer", such as B. Pier Francesco Tosi in 1723, and Johann Joachim Quantz in 1752. Trills also had an easily understandable association with the "tirilating" of songbirds. In the period in question they were so essential that Carl Philipp Emanuel Bach wrote in 1753 that “at least one cannot get on without two good trills in each hand”.

Trill with a tail, often used as a cadence trill

Not only were many types of long and short, slow and fast trills used (see above), but since the 16th century, in all of baroque music and up to the Viennese classical period, the cadenza was particularly popular - shortly before the end of a melodic phrase common trills, usually with a last (in early Italian baroque: groppo (see above and right illustration)). A special case of this practice in the Baroque and Classical epochs is the trill at the end of a solo cadenza in an aria or a solo concerto .

Apart from the above-described practice of precisely prescribed trills, music in the 16th to 18th centuries was often simply recorded because the contemporary, often highly virtuoso interpreters and singers already knew where to make trills or other adornments. This practice applies particularly to Italian music, and especially to the singing parts in opera. The cadence trills just mentioned z. B. were so natural that they didn't necessarily have to be drawn in:

“Anyone who can make a really nice trill, even if he has no special supply of other ornaments on the chant, always has the advantage of honoring the paragraphs or ends of the chant where the trill is most indispensable is. But whoever can either produce no or only a faulty trill; he'll never be a great singer; even if he understood so much else at the same time. "

- Pier Francesco Tosi : Opinioni de 'cantori antichi e moderni…, Bologna 1723 (in the translation by JF Agricola. In: Instructions for Singkunst. Berlin 1757, pp. 94–95)

In Italian baroque music, only those trills were drawn that were somehow extraordinary and where the composer did not want the interpreter to have a free choice, e.g. For example, there was the so-called “catena di trilli”, the chain of trills: an ascending or descending sequence of whole or semitones that all got a trill, but in such a way that one merges into the other. This is a spectacular display of virtuosity, especially with singers, which even then only extraordinary singers like the castrati Farinelli and Caffarelli or the famous prima donna Faustina Bordoni and Francesca Cuzzoni were capable of.

Giuseppe Tartini, Violin Sonata in G minor B.g5, “Devil's Triller” in the 3rd movement

One of the most famous “catena di trilli” is a slow two-part passage in the last movement of Tartini's so-called “Devil's Trill Sonata” in G minor (B. g5), where the violin plays a long line of ascending trills, e.g. It is partly chromatic , but also contains leaps in thirds , and where the player has to accompany himself with a second voice. This passage appears twice and was added in the first edition in L'Art du Violon No. 140 (Paris, Decombe, approx. 1799) with the following addition: “Trillo del diavolo al pie del letto” (= “Trill of the devil at the foot des Bettes ”(by Tartini; author's note)) - an allusion to the legend of Tartini's dream, to which this sonata supposedly owes its creation.

There are also examples of trill chains in keyboard music as early as the middle of the 17th century. B. with Johann Caspar Kerll , who in his Toccata 8 in G (in bars 28-29) brings an ascending parallel chain of trills in both hands at the same time. Simple chains of trills can also be found in Mozart's piano works , e.g. B. in his Rondo in A minor or in his variations on "Lison dormait" KV. 264 / 315d, where underneath the chain of trills in his right hand he brings virtuoso figurations in his left, all in a poetic adagio.

In France, from 1665/1670, all trills and other ornaments began to be entered relatively precisely in instrumental music, previously they had been improvised, as in Italy. The (sometimes apparently awkward) improvisation did not end immediately, despite the precise French music editions, because in 1722 François Couperin wrote in the foreword to his third book with Pièces de clavecin :

“It always surprises me… to hear my pieces play by people who have learned them without noticing the signs. A neglect that must be called inexcusable, since it is not left to anyone to use any ornamentation. I therefore declare that my pieces are to be played as I sketch them out and that they will only have the desired effect on people of good taste if they are performed according to the letter, without adding or leaving out anything. "

- François Couperin : in the foreword to his third book Pièces de clavecin, 1722

Even during Couperin's lifetime, in the 1720s, younger French composers such as Jean-François Dandrieu and Rameau began to tend to simplify and use a little less trills and other decorations. This is particularly clear in Rameau's second book, Pièces de clavecin, from 1724, which in its new edition from 1731 has fewer decorations. Nevertheless, these works cannot be imagined without trills.

German composers like Bach or Handel usually did not include all trills and essential embellishments in their works, leaving that to the player's imagination, but there are some very ornate versions of individual pieces, such as B. Bach's fair copy of the three-part Sinfonia 5 in E flat major, BWV 791, or copies of various pieces by students with registered trills and other decorations (English and French suites, fugues, etc.).

Sometimes trills were used for particularly virtuoso special effects; Italian singers such as Farinelli sang e.g. B. on long notes or fermatas trills, which they started in pianissimo , then swelled to full volume, and finally diminuendo could fade away again in nothing. Such effects triggered storms of applause from the audience.

There were also special effects with trills in instrumental music, e.g. For example, in his toccatas Johann Caspar Kerll sometimes demands long virtuoso parallel trills in both hands at the same time, in his Toccata 1 in D the middle voices have to hold such a slowly starting double trill for two bars, while the two outer voices move on melodically. Another example of very long trills in a middle voice with virtuoso figurations and cuckoo calls above and below is the end of Bernardo Pasquini's Toccata con lo scherzo del cucco (= "Toccata with the cuckoo's joke"); Pasquini did not notate the long wavy line that is customary today (see above), but simply wrote “trillo continuo” (= continuous, sustained trill) at the beginning of the eight or six bars sustained notes . Louis-Claude Daquin published in his Pièces de clavecin from 1735 a piece Les trois Cadances (sic!) (= "The three trills"), where he demands that you have to play three trills at the same time (with both hands). The necessary “double trills” in one hand were sometimes mentioned in tracts (e.g. by F. Couperin ( L'art de toucher le clavecin , 1717) or by C. Ph. E. Bach (1753)), but usually not used because they not only require a lot of practice, but also a particularly inexpensive system. Even Beethoven later made this kind of double and triple trills in some of his piano concertos.

Already in the Classical period (from around 1770) the trill no longer played the major role as in previous epochs, although it was still a normal part of musical language, especially as a cadence trill, or for occasional effects with chains of trills and long trills. In the first half of the 19th century it was still part of the repertoire, especially in Italian bel canto.

Giuseppe Verdi: Rigoletto (1851), Gilda's aria "Caro nome" (end)

But after the last castrato Giovanni Battista Velluti had left the stage, and romantic composers like Donizetti and Bellini placed increasing importance on dramatic effects, he almost exclusively belonged to the repertoire of fragile and / or noble female figures who sometimes still sing acrobatic trills in mad scenes have (e.g. the mad scene of Lucia in Donizetti's Lucia di Lammermoor ). Some of the last famous scenes that require perfect trills are Leonora's cabaletta “Di tale amor…” in Verdi's Il trovatore in Act 1 and her aria “D'Amor sull'ali rosee” in Act IV, 1; as well as Gilda's aria "Caro nome" from Verdi's Rigoletto (1851), which demands many small trills and ends with a long trill on the e '', which diminuendo ebbs away into nothing.

Some singers who became famous in the 20th and 21st centuries for their beautiful and / or spectacular trills are Maria Callas , Joan Sutherland , Beverly Sills (with a slight tendency to exaggerate), and more recently, especially in baroque music, Vivica Exactly and Karina Gauvin .

The trill, like the coloratura singing, was also part of the repertoire of the so-called "light muse" that emerged in the 19th century. The music of the Viennese waltz composers Joseph Lanner , Johann Strauss father , Johann Strauss son a . a. often contains many trills, which should create an atmosphere of happiness, serenity and amusement, and a sparkling, brilliant, chirping and champagne- like effect. One of many examples is the waltz Brussels lace op. 95 (1836) by Strauss Vater, the introduction of which begins with several long trills, but which in this special case is also intended to capture something of the somewhat old-fashioned, rococo-like touch of precious lace.

In other cases, long trills were sometimes used in romantic orchestral music for "magical" or "fairy" effects; B. at the beginning of Jacques Offenbach's barcarolle “Belle nuit” (= “Schöne Nacht” in Les contes d'Hoffmann , 1864/1880), or at the end of Felix Mendelssohn-Bartholdy's famous wedding march from incidental music (op. 61) to Shakespeare's Midsummer Night's Dream , where the fluttering trills not only express lively joy, but are also an allusion to the magical atmosphere and the fairy-like nature of the plot.

In the traditional folk and art music of different countries, short, fast or slow trills also occur in addition to other types of ornamentation, especially in oriental or Indian music. Practically, trills also appear in numerous modern music genres, e.g. B. also in newer music genres like blues or rock. Here the trills are usually much shorter than in the older literature, and correspond more to the bulging trills.

Unicode

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In the Unicode standard, the character is available as " MUSICAL SYMBOL TR " under the code point U + 1D196 in the Unicode block of musical notation .

See also

literature

  • Isolde Ahlgrimm : The ornamentation of music for keyboard instruments. Graz 2005, ISBN 978-3-201-01820-3 .
  • Thomas Aigner : Booklet text for CD Johann Strauss I - Edition, Vol. 11. Slovak Sinfonietta Zilina, Christian Pollack , published by: Marco Polo, 2007.
  • Jean-Henry d'Anglebert: Pièces de Clavecin - Édition de 1689. Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1999.
  • Johann Agricola: Instructions for the art of singing (translation of Tosis Opinioni de cantori antichi e moderni…, 1723). Reprint of the 1757 edition, ed. v. Thomas Seedorf . Bärenreiter, Kassel et al. 2002.
  • Carl Philipp Emanuel Bach : "From the trills". In: Attempt on the true way of playing the piano (Part 1, Berlin 1753; Part 2, Berlin 1762). Reprint of both parts with the additions to the editions of 1787 and 1797. Ed. Wolfgang Horn. Bärenreiter, Kassel 1994, pp. 71-84.
  • Giulio Caccini : Le Nuove Musiche (Florence 1601), and Nuove Musiche e nuova Maniera di scriverle (Florence 1614). New edition (facsimile): Studio per edizioni scelte (SPES), Florence 1983.
  • Jacques Champion de Chambonnières: Les Pièces de Clavessin, Vol. I & II. Facsimile of the 1670 Paris Edition. Broude Brothers, New York 1967.
  • Francisco Correa de Arauxo: Facultad Orgánica (Alcalà 1626), 2 volumes, ed. v. Macario Santiago Kastner (in: Monumentos de la Música española VI ), Barcelona: Consejo Superior de Investigaciones cientificas (CSIC), 1948 & 1952 (new edition 1974 & 1981).
  • François Couperin : L'Art de toucher le Clavecin - The art of playing the clavecin. Breitkopf & Härtel, Wiesbaden. Ed. & Transl. v. Anna Linde (originally 1933).
  • François Couperin: Pièces de Clavecin, Premier Livre (1713), Facsimile, publ. sous la dir. de J. Saint-Arroman. Edition JM Fuzeau, Courlay 1988.
  • Johann Baptist Cramer : Instructions to play the piano forte. Mainz 1815
  • Louis-Claude Daquin: Premier Livre de Pièces de Clavecin (1735), Performer's Facsimiles 30442, New York undated
  • Girolamo Diruta: Il Transilvano - Dialogo sopra il vero modo di sonar organi et istromenti da penna. Venice, G. Vincenti, 1593, Facsimile, Forni Editore, Bologna.
  • Girolamo Frescobaldi : Organ and Piano Works, Vol. 2, 3, 4, 5th ed. Pierre Pidoux, Bärenreiter, Kassel (originally 1948–1958).
  • Frederick Hammond: "Il repertorio di abbellimenti". In: Girolamo Frescobaldi. Italian translation by Roberto Pagano, Palermo: L'Epos, 2002, pp. 336–352.
  • Johann Nepomuk Hummel : Detailed theoretical and practical instructions on how to play the piano forte. Vienna 1828
  • Johann Kaspar Kerll: Complete Works for Keyboard Instruments, Vol. 2: Toccate e Canzoni. Edited by Francesco di Lernia. Universal-Edition, Vienna 1991.
  • Johann Mattheson : "Third main piece: The art of singing and playing gracefully". In: The perfect Capellmeister 1739. Ed. Margarete Reimann. Bärenreiter, Kassel et al., Pp. 109-120, here: § 30-37, pp. 114-115.
  • MELOTHESIA or, Certain Rules for Playing upon a Continued - Bass. With a choice Collection of Lessons for the Harpsichord and Organ of all Sorts. The First Part. (1673) (harpsichord suites and individual pieces by Matthew Locke, Christopher Preston, John Roberts, William Gregorie, William Hall, Robert Smith, John Banister, J. Moss, G. Diesner, William Thatcher). Performer's Facsimiles (01234), New York undated
  • Claudio Merulo : Canzoni d'Intavolatura ... (Libro I, II, III). Venice 1592, 1606 and 1611. Complete edition by Walker Cunningham & Charles McDermott. A – R Editions, Inc., Madison (Wisconsin, USA) 1992.
  • Claudio Merulo: Toccate d'Intavolatura ... (Libro I & II). Rome 1598 and 1604. New edition (facsimile): Studio per edizioni scelte (SPES), Florence 1981.
  • Leopold Mozart : Attempting a thorough violin school, Augsburg 1756, paperback reprint Kassel a. a. 2014
  • Wolfgang Amadeus Mozart: Variations, Rondos and other works for Piano (from the Breitkopf & Härtel Compl. Works Edition, 1878 & 1887). Dover Publications, Inc., New York 1991.
  • Georg Muffat : Apparatus Musico Organisticus. 12 toccatas and three variation works for organ, 1690.
  • Eugen and Karin Ott : Handbook of the ornament art in music. Ricordi , Milan 1997 ff., ISBN 3-931788-01-6 (so far 10 volumes).
  • Bernardo Pasquini: Opere per tastiera - Vol. IV (SBPK Landsberg 215 - Part III), a cura di Armando Carideo. Andromeda Editrice, Colledara 2003.
  • Michael Praetorius: Syntagma musicum . 3 volumes, Wittenberg / Wolfenbüttel, 1614–1619. New edition Bärenreiter, Kassel 1958–1959.
  • Johann Joachim Quantz : IX. Main piece "Von den Trillern". In: Attempting an instruction to play the flute traverse. Facsimile reprint of the 3rd edition, Breslau 1789, ed. v. Hans-Peter Schmitz. Bärenreiter, Kassel 1968.
  • Francesco Rognoni: Selva dei vari passaggi secondo l'uso moderno, per cantare et suonare con ogni sorte de stromenti, divisi in due parti (1620). New edition: Arnaldo Forni, 2002, ISBN 88-271-2946-4 .
  • Michelangelo Rossi: Toccate e Corenti d'Intavolatura d'Organo e Cimbalo. Rome 1657. New edition in facsimile by: Studio per Edizioni Scelte (SPES), Florence 1982.
  • Anthony Short : Booklet text on CD Mendelssohn - Symphony No. 4 Italian & A Midsummer Night's Dream . Orchestra of the Age of Enlightenment, Sir Charles Mackeras, published by: Virgin veritas, 1988/1994.
  • Louis Spohr : Violin School Vienna 1833
  • Bernardo Storace : Selva di Varie compositioni d'Intavolatura per Cimbalo ed Organo. Venice 1664. New edition (facsimile) by: Studio per Editioni scelte (SPES), Florence 1982.

Web links

Individual evidence

  1. ↑ In truth, the line cannot be drawn so precisely.
  2. ↑ Johann Agricola: Instructions for Singing (translation of Tosis Opinioni de cantori antichi e moderni…, 1723), reprint of the 1757 edition, ed. v. Thomas Seedorf. Bärenreiter, Kassel et al. 2002, pp. 106-107 (Agricola note).
  3. ↑ See e.g. B. François Couperin's ornament table in: François Couperin: Pièces de Clavecin. 4 volumes, ed. by Jos. Gát. Schott, Mainz et al. 1970-1971.
  4. ↑ Already in Correa de Arauxo ( Facultad Organica, 1626) - there it is called "redoble" -, then in d'Anglebert ( Pièces de clavecin, 1689) - there it is called "cadence" - and also in Johann Sebastian Bach's famous ornament table .
  5. ^ This trill was also called "cadence" by d'Anglebert ( Pièces de clavecin, 1689) ; it is also found in Johann Sebastian Bach's well-known ornament table from Wilhelm Friedemann's "Piano Booklet" (1720), he calls it "Double Cadenze". The trill with a double beat from below also corresponds to Correa de Arauxos redoble ( Facultad Organica, 1626, p. 54).
  6. ↑ First evidence can be found in: Bernard Viguerie : L'art de toucher le piano-forte (Paris, approx. 1796), p. 29; and with: Johann Nepomuk Hummel: Instructions for playing the piano. Vienna 1828 / 2nd edition Vienna 1838, p. 394, §. 3 ff.
  7. ^ Johann Baptist Cramer : Instructions to play the piano forte, p. 29
  8. ↑ Andrea Gabrieli: Complete Works for Keyboard Instruments. 6 volumes, ed. v. Giuseppe Clericetti. Doblinger, Vienna 1997.
  9. ^ Claudio Merulo: Canzoni d'Intavolatura ... (Libro I, II, III). Venice 1592, 1606 and 1611. Complete edition by Walker Cunningham & Charles McDermott. AR Editions, Madison WI 1992. Claudio Merulo: Toccate d'Intavolatura… (Libro I & II). Rome 1598 and 1604. New edition (facsimile): Florence: Studio per edizioni scelte (SPES), 1981.
  10. ↑ Girolamo Frescobaldi: Organ and Piano Works, Vol. 2, 3, 4, 5th ed. Pierre Pidoux, Kassel: Bärenreiter, (originally 1948–1958).
  11. ↑ See: Giulio Caccini: Le Nuove Musiche. Florence 1601. New edition (facsimile): Florence: Studio per edizioni scelte (SPES), 1983, (preface, unspecified).
  12. ↑ Girolamo Diruta: Il Transilvano - Dialogo sopra il vero modo di sonar organi et istromenti da penna. Venice, G. Vincenti, 1593, Facsimile, Bologna: Forni Editore. (Diruta was a student of Merulo, and actually reports his practice.)
  13. ↑ See: Francesco Rognoni: Selva dei vari passaggi secondo l'uso moderno, per cantare et suonare con ogni sorte de stromenti, divisi in due parti (1620). New edition: Arnaldo Forni, 2002, ISBN 88-271-2946-4 .
  14. ^ Michael Praetorius: Syntagma musicum . 3 volumes, Wittenberg / Wolfenbüttel, 1614–1619. New edition Kassel: Bärenreiter: 1958–1959.
  15. ↑ E.g. in Conforti ( Breve et facile maniera, Rome 1593), Caccini 1601, Praetorius 1614-1619, Rognoni 1620. See: Frederick Hammond: Girolamo Frescobaldi. Italian translation by Roberto Pagano, Palermo: L'Epos, 2002, pp. 336-349.
  16. ↑ Merulo uses them in 16th, 32nd and (rarely) 64th values.
  17. ↑ E.g. in Conforti ( Breve et facile maniera, Rome 1593), Caccini 1601, Praetorius 1614-1619, Rognoni 1620. See: Frederick Hammond: Girolamo Frescobaldi. Italian translation by Roberto Pagano, Palermo: L'Epos, 2002, pp. 336-349.
  18. ↑ Unfortunately, until now (as of 2017) you can hear early baroque German music almost exclusively sung. However, this does not correspond to the historical facts and the strongly Italian-influenced early baroque style.
  19. ↑ In "Capitulo Quinto, Que sea quiebro y redoble ...". In: Francisco Correa de Arauxo: Facultad Orgánica (Alcalà 1626), 2 volumes, ed. v. Macario Santiago Kastner (in: Monumentos de la Música española VI ), Barcelona: Consejo Superior de Investigaciones cientificas (CSIC), 1948 & 1952 (new edition 1974 & 1981), vol. 1, p. 54.
  20. ↑ MELOTHESIA … (1673),…, New York: Performer's Facsimiles (01234), undated, p. 5 in the foreword (!). ( Of course, the "shake" with the said symbol also occurs with Purcell and other contemporary composers.)
  21. ^ Jean-Henry d'Anglebert: Pièces de Clavecin - Édition de 1689. Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Édition JM Fuzeau, 1999.
  22. ^ François Couperin: Pièces de Clavecin, Premier Livre (1713), Facsimile, publ. sous la dir. de J. Saint-Arroman, Courlay: Edition JM Fuzeau, 1988, pp. 74-75 ("Explication des Agréments, et des Signes" = explanations of the decorations and signs).
  23. ↑ Jacques Champion de Chambonnières: Les Pièces de Clavessin, Vol. I & II. Paris 1670, Facsimile, New York: Broude Brothers, 1967 (page indication not possible, the table is on an undesignated page before the start of the actual music) .
  24. ↑ E.g. in the harpsichord and organ works by Rossi and Storace, but also in violin music, e.g. B. from Cazzati. See:
    Michelangelo Rossi : Toccate e Corenti d'Intavolatura d'Organo e Cimbalo. Rome 1657. New edition in facsimile by: Studio per Edizioni Scelte (SPES), Florence 1982.
    Bernardo Storace : Selva di Varie compositioni d'Intavolatura per Cimbalo ed Organo. Venice 1664. New edition (facsimile) by: Studio per Editioni scelte (SPES), Florence 1982.
    Maurizio Cazzati : Correnti e Balletti per sonare nella spinetta, leuto o tiorbo; overo Violino, e violone, col secondo Violino a beneplacito, op. 30, Bologna 1662.
  25. ↑ z. B. from Kuhnau. See: Johann Kuhnau : Fresh Clavier Fruits or Seven Suonatas. Leipzig 1696. New edition (facsimile), Florence: Studio per edicioni scelte (SPES), 1995.
  26. ^ Johann Mattheson. In: The perfect Capellmeister 1739, ed. v. Margarete Reimann, Kassel et al .: Bärenreiter, pp. 114–115.
  27. ↑ Johann Agricola: Instructions for Singing (translation of Tosis Opinioni de cantori antichi e moderni…, 1723), reprint of the 1757 edition, ed. v. Thomas Seedorf, Kassel et al .: Bärenreiter, 2002, pp. 107-112.
  28. ↑ Carl Philipp Emanuel Bach: "From the Trills". In: Attempt on the true way of playing the piano (Part 1, Berlin 1753; Part 2, Berlin 1762). Reprint of both parts with the additions to the editions of 1787 and 1797. Ed. Wolfgang Horn, Kassel: Bärenreiter, 1994, pp. 71–84.
  29. ^ Georg Muffat: Apparatus Musico Organisticus : 12 toccatas and three variation works for organ, 1690.
  30. ↑ James Tyler: A Guide to Playing the Baroque Guitar. Indiana University Press, Bloomington and Indianapolis 2011, ISBN 978-0-253-22289-3 , pp. 14 f.
  31. ↑ James Tyler (2011), p. 14 f.
  32. ↑ Tosi uses (in connection with “half trills” = impact trills) the Italian word “brilliant”, which Agricola translates correctly and beautifully as “shimmer”. Johann Agricola: Instructions for the art of singing (translation of Tosis Opinioni de cantori antichi e moderni…, 1723), reprint of the 1757 edition, ed. v. Thomas Seedorf, Kassel et al .: Bärenreiter, 2002, p. 99.
  33. ↑ Trill "... give playing a great shine", see: Johann Joachim Quantz: IX. Main piece "Von den Trillern". In: Attempting an instruction to play the flute traverse. Facsimile reprint of the 3rd edition, Breslau 1789, ed. v. Hans-Peter Schmitz, Kassel: Bärenreiter, 1968, p. 83 ff.
  34. ↑ Here it refers to the purely technical aspect that e.g. B. in the right hand must be able to do good trills with the 3rd and 4th fingers, as well as with the 2nd and 3rd (left with the 1st and 2, and e.g. with the 2nd and 3rd Finger). Carl Philipp Emanuel Bach: "From the trills". In: Attempt on the true way of playing the piano (Part 1, Berlin 1753; Part 2, Berlin 1762). Reprint of both parts with the additions to the editions of 1787 and 1797. Ed. Wolfgang Horn, Kassel: Bärenreiter, 1994, pp. 71–84, here: § 10, pp. 73f.
  35. ↑ Claudio Merulo noted different types of slow and fast trills very precisely in his keyboard music as early as the 16th century (in sixteenth, 32nd and even 64th note values); this was also passed down by Merulo's student Diruta. See: Claudio Merulo: Canzoni d'Intavolatura ... (Libro I, II, III). Venice 1592, 1606 and 1611. Complete edition by Walker Cunningham & Charles McDermott, Madison (Wisconsin, USA): AR Editions, Inc., 1992. Claudio Merulo: Toccate d'Intavolatura… (Libro I & II). Rome 1598 and 1604. New edition (facsimile): Florence: Studio per edizioni scelte (SPES), 1981. Diruta, Girolamo: Il Transilvano - Dialogo sopra il vero modo di sonar organi et istromenti da penna. Venice, G. Vincenti, 1593, Facsimile, Bologna: Forni Editore.
  36. ↑ On slow and fast trills, see: Johann Agricola: Instructions for Singing Art (= translation and commentary by Tosis Opinioni de cantori antichi e moderni…, 1723), reprint of the 1757 edition,…, Kassel et al .: Bärenreiter, 2002, p 100-101. See also: Johann Joachim Quantz: IX. Main piece "Von den Trillern". In: Attempting an instruction to play the flute traverse. Facsimile reprint of the 3rd edition, Breslau 1789, Kassel: Bärenreiter, 1968, p. 85.
  37. ↑ Johann Agricola: Instructions for Singing (translation of Tosis Opinioni de cantori antichi e moderni…, 1723), reprint of the 1757 edition,…, Kassel et al .: Bärenreiter, 2002, p. 109 ff.
  38. ↑ Carl Philipp Emanuel Bach: "From the Trills". In: Attempt on the true way of playing the piano (Part 1, Berlin 1753; Part 2, Berlin 1762). Reprint of both parts with the additions to the editions of 1787 and 1797, ..., Kassel: Bärenreiter, 1994, p. 72 (§ 6), p. 75–76 (§ 14–15) and p. 78 (§ 21).
  39. ^ Johann Friedrich Agricola: Instructions for the art of singing. Berlin 1757. New edition in facsimile, ed. v. Thomas Seedorf. Bärenreiter, Kassel 2002, pp. 94–95.
  40. ^ Johann Agricola: Instructions for Singing (= translation and commentary by Tosis Opinioni de cantori antichi e moderni…, 1723), reprint of the 1757 edition,…, Kassel et al .: Bärenreiter, 2002, pp. 100-101.
  41. ^ Johann Mattheson: "Third main piece: The art of singing and playing gracefully". In: The perfect Capellmeister 1739, ed. v. Margarete Reimann, Kassel et al .: Bärenreiter, pp. 109–120, here: § 37, p. 115. (Mattheson only knows the ascending chain of trills).
  42. ↑ Johann Kaspar Kerll: Complete Works for Keyboard Instruments, Vol. 2: Toccate e Canzoni, ed. v. Francesco di Lernia, Vienna: Universal Edition, 1991, p. 29, T. 28-29 (Toccata 8).
  43. ↑ In the Adagio Variation VIII. Mozart: Variations, Rondos and other works for Piano (from the Breitkopf & Härtel Compl. Works Edition, 1878 & 1887), New York: Dover Publications, Inc., 1991, p. 58 (Lisons dormait), and p. 130 (Rondo KV 511).
  44. ^ As mentioned above, the first tables of ornamentation published: Guillaume-Gabriel Nivers: Premier Livre d'orgue (organ book), Paris 1665; and: Jacques Champion de Chambonnières: Les Pièces de Clavessin, Vol. I & II. Paris 1670. Facsimile, New York: Broude Brothers, 1967.
  45. ^ François Couperin, foreword to: Pièces de Clavecin, Vol. 3, ed. by Jos. Gát, Mainz et al .: Schott, 1970–1971, p. 5 (number of pages unmarked).
  46. ^ Erwin R. Jacobi, foreword to: Jean-Philippe Rameau: Pièces de Clavecin (Complete Edition),…. Bärenreiter, Kassel et al. 1972, p. IX.
  47. ↑ About this reported u. a. Agricola in a commentary on Tosi. Johann Agricola: Instructions for the art of singing (translation of Tosis Opinioni de cantori antichi e moderni…, 1723), reprint of the 1757 edition, ed. v. Thomas Seedorf. Bärenreiter, Kassel et al. 2002, p. 108 (below).
  48. ↑ The trills are written out and end with a look-up, numerous trills also precede and follow. There are long parallel trills in both hands at the end of Toccata 6 in F, Toccata 7 in G, and at several points in Toccata 8 in G, especially in bars 28–29 an ascending parallel chain of trills. Johann Kaspar Kerll: Complete Works for Keyboard Instruments, Vol. 2: Toccate e Canzoni, ed. v. Francesco di Lernia. Universal-Edition, Vienna 1991, p. 5, T. 46-48 (Toccata 1), p. 24 (Toccata 6), p. 27, (Toccata 7), p. 29 and 31 (Toccata 8).
  49. ↑ Bernardo Pasquini: Opere per tastiera - Vol. IV (SBPK Landsberg 215 - Part III), a cura di Armando Carideo. Andromeda Editrice, Colledara 2003, p. 17, T. 75-88.
  50. ↑ Louis-Claude Daquin: Premier Livre de Pièces de Clavecin (1735), New York: Performer's Facsimiles 30442 (n.d.), pp. 14-17.
  51. ^ François Couperin: L'Art de toucher le Clavecin - The art of playing the clavecin. Wiesbaden: Breitkopf & Härtel, ed. & trans. v. Anna Linde (originally 1933), p. 20.
  52. ↑ Carl Philipp Emanuel Bach: "From the Trills". In: Attempt on the true way of playing the piano (Part 1, Berlin 1753; Part 2, Berlin 1762),…. Bärenreiter, Kassel 1994, p. 74 (§ 11).
  53. ↑ Unfortunately there are relatively few female singers these days who can sing perfect trills in addition to the other requirements of these roles. Maria Callas was the first to do this again after the art of singing fell into decline between around 1850 and 1950.
  54. ↑ The piece was in all probability composed by Strauss' father for performances in Brussels during his major European tour. Thomas Aigner : Booklet text for CD Johann Strauss I - Edition, Vol. 11. Slovak Sinfonietta Zilina, Christian Pollack, published by: Marco Polo, 2007, p. 6.
  55. ↑ This piece is based on the overture to Offenbach's youth work “Die Rheinnixen”; It is interesting that the title of the original work evokes seductive female water spirits who, according to traditional ideas, draw men into perdition or into the floods. The barcarolle in Hoffmann's tales is also sung in a siren-like duet by the Venetian courtesan Giulietta, who is actually a creature of the diabolical Dapertutto and who later wants to conjure up his reflection from the title character. So the piece really has an uncanny connection with seduction and magic and is not as harmless as one might think.
  56. ↑ Anthony Short also speaks of the “elf-like” character of his music and orchestration in connection with Mendelssohn's music for Midsummer Night's Dream . Anthony Short: Booklet text on CD: Mendelssohn - Symphony No. 4 Italian & A Midsummer Night's Dream , Orchestra of the Age of Enlightenment, Sir Charles Mackeras, published by: Virgin veritas, 1988/1994, p. 7 & p. 8.
  57. ↑ In guitar music one would speak of a “hammer-on” followed by a “pull-of”.