As Italian singers peregrinated throughout Europe, the appoggiaturas
went with them.
The relationship of the final G to the appoggiaturas
is seen in greater clarity when the entirety of the first part of the piece is considered: the first part of the piece, as previously noted, lasts four minutes and eleven seconds in Messiaen's performance--the only essential note is played for only twenty-one seconds.
As Polly pleads for her life in stanza 7 the fiddle recalls the transposed fragments and appoggiaturas
of stanza 5 but this time adds a double-stop at the interval of a seventh, heightening the tension.
must always participate in the character of the music to which they are joined.
HG 81) Handel conveys both Ottone's despair and his anxious longing for Teofane through the falling phrases in the vocal line, which fluctuates between smooth and dotted rhythms, and through the dotted and always descending figure and the suspensions and appoggiaturas
that are prominent throughout in the orchestra.
Omitting the anacrustic sixteenths and the appoggiaturas
on the downbeats of bars 2-4, and adjoining the high "C" from the beginning of the next phrase, yields level i, where interval 5 (descending thirds/ascending sixths) is presented in the form of four successive melodic "chords of the sixth," the first and second related conjunctly, the second and third related disjunctly, the third and fourth related again conjunctly.
to their resolutions was nonetheless a performance convention, taken for granted along with slurring trills to their termination and so on.
The normally descending sigh motif slurs are inverted here, to accommodate the ubiquitous sharp appoggiaturas
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.
He plays all petites notes as short acciaccaturas, since that is how Rubio has transcribed them; but most should be appoggiaturas
The movement begins in A minor; an abbreviated and texturally simplified version of Mozart's sequence begins in bar 8; and the shift to C major in bar 13 coincides with the beginning of a melody whose underlying framework [Musical Expression Omitted] (c[prime]/c[double prime]-d[double prime], g[prime]-e[double prime]) and chromatic appoggiaturas
are identical to those of Mozart's major-mode melody (see Ex.
Personally, I have found Klein's (perhaps outspoken) caution concerning the application of appoggiaturas
and cadenzas in Mozart's operatic works very enlightening.