(27.) 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.
Improvisatory vocal techniques that incorporated the portamento, appoggiatura
, falsetto, turns, passing notes, as well as other ornamental devices were amongst the singer's repertoire of 'special effects' used in the 'lining-out' process.
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.
Such a pursuit is very different from the echoing of Stevens in Ashbery mentioned above, or even Ashbery's echoing of William Cowper's long "wandering" poem, The Task; (26) such echoing functions as a grace note or even the leaning appoggiatura
. That is, the musical modality Ashbery announces here at the beginning of The Double Dream of Spring pursues layering and cycle, grace notes instead of harmony: the pattern of beginning again and returning to the point of origin, is graced and inflected by the cycle of the natural day in the second stanza, a double dream (so to speak) of experience.
Which will be expressed by melodic and harmonic means: the progressive growth of intervals, the chord on the dominant, ostinatos, grace notes, and extended appoggiaturas
. Still more by rhythmic means: rhythms immediately preceded or followed by their augmentation and sometimes lengthened by an added value....
In the introduction Montgeroult mentions a type of ornament that she calls appoggiaturas
In 'Dove sei?' (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.
The treble part, on the other hand, is normally fairly heavily decorated with a variety of such specific ornaments (trills, turns, mordents and appoggiaturas
) as are characteristic of keyboard music in general.
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.
proposed for feminine line endings are said to be necessary for prosodic reasons and so do not count as an ornament.
In the 1950s, Mackerras was an early adopter of eighteenth-century vocal ornamentation (notably appoggiaturas
), a practice that was not widely accepted at that time.
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." Additionally, cante jondo usually consists of descending melody lines ending on a falling cadence of a minor second, such as is found in the phrygian mode.