Appoggiatura

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Appoggiatura

 

(German Vorschlag), a melisma (seeORNAMENTATION) consisting of one or two notes that precede a main note in the melody. Appoggiaturas appear on the staff as small notes. The short appoggiatura (Appoggiatura) derives its value from the preceding note in the melody. The long appoggiatura, notated without the cross stroke, derives its value from the main note.

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The detailed information in the commentary may confuse in that some references to ossia staves seem actually to refer to bracketed appoggiaturas in the 2004 edition, the brackets having disappeared in NBA rev.
The decorative appoggiaturas, named as ornamental and unstable within the human realm represented by the tonal system, represent the heart of the true substance of the divine life, which finds tangible expression in the descent of the Word into the world, symbolized through the pedal line.
Sacred oratorio maintained a degree of improvisational freedom throughout the latter half of the nineteenth century, enabling singers the scope to ornament melodic lines with an elaborate vocabulary of passing tones, turns, trills, appoggiaturas and other filigree.
In particular, these changes concern the rhythmic value of appoggiaturas (which the NMA generally standardizes and always slurs to the main note whereas Mozart sometimes writes appoggiaturas of differing length, long or short, and not always slurred to the main note); the abbreviation of dynamics (Mozart frequently writes out dynamics in part or in full, suggesting nuances lost in the decision always to abbreviate dynamics); and the notation of articulation marks such as dots and strokes, which the NMA is equivocal about, sometimes making the distinction, sometimes not.
One common trait of Oriental melodies is the almost obsessive repetition of a single note, colored by appoggiaturas above and below it, creating a kind of "incantation.
In his effort to successfully attain variation of material, as well as timbre imitation, he employs a wide variety of ornaments such as mordents, trills, broken chords and appoggiaturas.
The rhetoric of these movements is certainly more intense and less sociable than what we hear elsewhere in the concertos, but it represents a standard expressive type that would have been very familiar to a listening public: a largely baroque lamenting idiom laced with suspensions, appoggiaturas, and various chromatic chords.
The first two sections of the book discuss appoggiaturas and trills as found in the A-Minor Concerto, and the last section covers ornaments not found in the piece, but occurring in other C.
Aside from offering excellent distilled advice on such concerns as the execution of short appoggiaturas and tempo character, Rowland-Jones also contributes some broader thoughts that deserve future following up.
Later in the same movement, some of the grace notes are given as eighths with a slash in the eighteenth-century source--probably a shorthand for sixteenth-note appoggiaturas rather than implying pre-beat performance, although some occur between two notes of the same pitch with the second falling on a main beat--a context in which Johann Joachim Quantz and other late-eighteenth-century writers recommended performing the grace note before the beat.
245); chromatic appoggiaturas, sanglots, and flowery discourse (p.
These refinements include fairly obvious ones, such as varying the number and tessitura of voices in the realization to reflect the strength and register of the written parts, as well as more subtle adjustments, such as omitting the realization of individual figures that create clashes with appoggiaturas and other ornaments.