.

BAROQUE PERFORMANCE PRACTICES

by

Kelly Tyma

.
Husic 353H

.
.
TABLE OF CONTENTS

ORNAMENTATION 1

ORNAMENTS
Appoggiatura 5
Acciaccatura . 10
Trill ............ 10
Mordent .. 12
Turn . ................................................. 13
TEMPO ... ... ...... 14
RHYTHM

. Inequality

Dotting
.............

..............................
16
17
PHRASING . ................ 18
ARTICULATION ....... 19
DYNAMICS ..... 19
NOTES ... ... ............ 21
BIBLIOGRAPHY ... ... ................... 22

.
. Baroque music has been so neglected that no original tradition as to

its performance has been passed down through the centuries. We must therefore

try to acquire as close a resemblance as we can under modern conditions with

modern notation and improved instruments. The Baroque ideal did not consist

of a faithful adherence to a carefully notated text. Composers depended upon

the individuality of the performer to fill out the implications of a sketchily

notated text. Rigid interpretations simply do not exist; however, there are

outer boundaries. There have been treatises written by Baroque composers

concerning Baroque performance practices to which we can refer, but many times

obvious points to the Baroque musician were left out--points not obvious to us

today.

Robert Donington feels that it is of utmost importance to realize that

. strong feelings and playing are often appropriate in Baroque music. J. J. Quantz

states that "the composer and he who performs the music must alike have a feeling

soul and one capable of being moved."

1 C.P.E. Bach asks how a musician can

possibly move others unless he himself is moved.

There are however many different expressions of musical feelings, and

one must recognize the national differences in temperament especially between

the two leading styles of Baroque music: the Italian and the French. Quantz

suggests that Italian music is less restrained than any other; whereas, French

music is almost too restrained. There is much Italian influence in Baroque

music. The French rapidly assimilated the Italian ornaments but left little

room for free ornamentation. The Germans were influenced both by Italian and

French music. One needs to study Couperin's ornamentation technique to really

understand what J.S. Bach wanted. C.P.E. Bach also drew on both styles, yet

. his treatises give us no general uniformity to follow.

 2

Our first problem of Baroque interpretation is that there are

. differences in notation and convention. Many of the signs used in TIaroque

texts are very misleading. Certain ornaments may have a completely different

meaning for us today than the meaning that the composer had intended. l-Iany

times ornaments not specified in the text were required and were automatically

incorporated by the Baroque performer. Such things as the use of trills at

cadence points and the adding of ornamental figuration on da capo repeats were

taken for granted.

Our modern editions are full of edited pages. The urtext many times

had only the bare structural notes and very few expression marks present so

as to keep the melody apparent. This allowed the performer to rely less on

the text and more on the style thereby permitting the interpretation to be

flexible. An exception to this is found in J.S. Bach's urtexts which contain

. ornaments

suggestions,
that have

including
been written

Bach.
out. Hany performers

lie made his own alterations

did not

each
follow his

time he per-

formed his music so as to remain in the Baroque tradition of spontaneity in

performance. Donington instructs us to be our own editors; each edition is

simply one man's interpretation.

According to Donington there exist five principles of Baroque em-

bellishment: the principles of necessity, economy, uniformity, variety, and

suitability. The principle of necessity: Embellishments are obligatory. They

are a necessity not a luxury. The princi pie of economy: One must choose the

correct ornament in its proper context. Too much embellishment will only

obscure the melody. The French incorporated many ornaments into the music; thus,

there is less need for additional ornamentation. The Italians on the other hand

incorporated very few embellishments in their music. Leopold Mozart advises us

. against

instruments
adding too much

playing
embellishment

one melody
to an ensemble

line; we should perform

piece of two or more

the work exactly as the

 3

composer has written it. Donington suggests that one first study the tech-

. niques of ornamentation in French music before attempting to play Italian

music. The important t~ing to remember is that sufficiency of ornaments in

one context may be excessive in a second context and deficient in a third.

The principle of uniformity: Quantz states that imitative passages and

entries that are closely connected should carry the same embellishments.

Other ornaments may be substituted as the piece proceeds as long as a reasonable

congruity is maintained. He warns us against confusing sequences with imitative

passages, One should avoid repetition of embellishments for sequences or else

the result is monotony. J.S. Bach will at times indicate different signs for

subsequent imitative passages. This is his customary casualness in the use

of contradictory and inconsistent signs that many of his contemporaries also

employed. Unfortunately for us the Baroque composer trusted the performer to

. properly

go hand
interpret

in hand.
his works.

In a strict
The principle

fugue there must

of variety:

be uniformity
Uniformity and variety

in ornamentation.

However, in free imitation if the first entry is not embellished the following

one is also not embellished. If the entries appear later in the work, embe11ish-

ment is to be employed for variety. If there is no imitation the performer has

greater flexibility; yet, one must never break the contin~ity, and each neW

embellishment employed must bear an obvious relationship to the embellishment

that preceded it. C.P.E. Bach advocated ornamenting da capo sections of

a1lerro tempos, but he felt that it was much abused. If everything is varied

in the da capo section then the piece takes on an entirely different character.

Donington states that where the principles of uniformity and variety conflict

one snou1d give weight to uniformity. The principle of suitability: The presence

of a sign calling for an ornament indicates neither that the performer is obliged

. to introduce one nor does it prevent him

absence of a sign for an ornament

from using another ornament.

does not prevent one from being added

TI1e

but does
 4

not excuse the performer from an obligatory one. Signs are guidelines; however,

. one must ultimately guided by taste, context, and suitability since different

ornaments can have different effects on raw material. How do we recognize

suitability? The situation where we have no choice are cadential trills.

Suitability in flexible situations is difficult to prescribe. Donington tells

us to generally use short appoggia~uras with short notes and long appoggiaturas

with long notes. C.P.E. Bach has laid down for us some guidelines. He states

that it is necessary to determine the harmonic content of composittons so

that ornaments may be properly executed.

All ornaments bear a proportionate relationship to the length of the

main note and the tempo and expression of the music. The more notes contained

in an ornament the longer the main note must be whether the length of the main

note is determined by the tempo or by the length of the main note itself.

He cautions us against hurried executions whicll cause a blurring of the melody

. and against prolonged executions which ruin the brillance of an ornament.

Ornaments bring out tenderness, sadness, or gaiety in music. Brillant embellish-

ments would certainly be inappropriate for a tender passage. Ornaments generally

adapt themselves to the key signatures. There seems to be no: rule as to when

to use chromatic and diatonic ornaments. C.P.E. Bach advises us to let our

ear be the ultimate judge in this respect.

There are three functions of ornaments: first, to join and enliven

notes (melodic ornaments); second, to emphasize and accentuate notes (rhythmic

ornaments); and third, to increase expressiveness (harmonic ornaments). Melodic

ornaments are inclined to be smooth; seldom are they conspicuously accented.

They occur on or between the beat and have various lengths. Rhythmic ornaments

are explosive, conspicuously accented, and on the beat. The short appoggiatura,

. double disjunct appoggiatura, and slide serve a rhythmic function.

ornaments are expressively overshadowing, delay the main note, are stressed and
Harmonic
 5

. accented,

a harmonic
are not

function.
explosive, and are on the beat. The long appoggiatura serves

Appoggiaturas make transitions from one note to another. Quantz feels

2
that a melody without an appoggiatura would "often sound very meager and plain".

TIle ear wearies of persistent consonances and longs for dissonance. According

to Quantz this is the function of an appoggiatura. Donington refers to them

as leaning notes and states that all appoggiaturas are played accented and on the

beat therefore robbing the main note of a portion of its value. Ornaments that

are performed off' the beat (Le., tak~ their value from the preceding note) are

not true appoggiaturas. He justifies his statement by explaining that appoggia-

turas serve as discords, and in order for them to sound as such they must be

struck on the beat. In this way they fulfill a harmonic function as well as a

melodic function. Quantz explains that a brief silence before the appoggiatura

. is often expressive especially if the two notes are the same pitch.

appoggiatura should be louder than the main note 1:0which it resolves and
The

should be smoothly slurred to the main note. If time permits a swell in intensity

is advised.

There exist ascending appoggiaturas which begin on the note below the

main note (Fig. 1a) and descending appoggiaturas that begin on the note above

the main note (Fig. 1b). Leopold Mozart explains that ascending appoggiatura
~e

F, Ib

is not as natural as the descending. If an ascending appoggiatura is desired

it is better for it to be a half-step rather than a whole-step below the main

notl (Fig. 2a). It may be a very effective ornament if used before a concluding

note (Fig. 2b). Ascending or descending appoggiatura by leap are rare, but

.
 6

they do occur. They are treated like the stepwise appoggiatura. Usually the

~ appoggiatura that proceeds by a leap is a note of retardation (i.e., the appoggia-

tura is a repeat of the note prior to the main note; Fig. 2c). The ascending

form died out by about ]750; therefore, it came to be accepted that all

dissonances resolved downwards.

F '<j. ~o... 1="1',;<6
-+\oJ 3

.3
Appoggiaturas are also classified according to their length: short

(unvarying appoggiatura) and long (varying appoggiatura).

The short appoggiatura was very popular prior to the eighteenth century.

They are always played as quickly as possible (hence the name unvarying appoggiatura)

and occur on the beat. C.P.E. Bach instructs us to play the short appoggiatura

so fast that the ensuing note loses scarcely any of its length. He suggests

using short appoggiaturas before short notes, before long notes when the main

~ \~. :3~
note
W~\~~:
is repeated several
\0. ~d
times (Fig.
'~I
3a),
. 3bW~\
and before
fte'l\:
syncopated notes
p\o. ~&',
(Fig. 3b).

Short appoggiaturas may also be used to fill in leaps of a third. If the movement

is an allearo the appoggiatura are notated and performed as seen in Fig. 4a,

and if they occur in an adagio they are performed as demonstrated in Fig. 4b.

Quantz and Mozart disagree with C.P.E. Bach and state that this filling in leaps

of a third that occurs on weak beats is reserved for the passing appoggiatura

which, according to them, occurs before the beat and serves a melodic function.

Quantz and Mozart would have played Fig. 4. before the beat as illustrated in

4c. Another example of this passing .ppogg~atura can be seen in .Fig. Sa.
l(l ~&. F\~ ~bAC.o.~(t) ~:3 Fi .4-c..
...........
~

~ Quantz performed the appoggiatura quickly, unstressed, and before the beat.
 7

According to C.P.E. Bach the figure should be played as illustrated in Fig. 5b.

. Fi~ 56
" .
"
.----.
.

Mozart explains that passing appoggiaturas can be used with notes ascending or

descending by conjunct (stepwise) degrees as in '18. 6a. This figure is played

unstressed and before the beat as illustrated in Fig. 6b. Donington tells us
.r---
~.
,

that the passing appoggiatura is not a true appoggiatura. The Germans in 1750

referred to this ornament as an appoggiatura which seems to flout all normal

expectations of an appogg1;ura by its use before the beat; therefore, Donington

0..

says that we must accept it as a "genuine.. .unpara11ed exception to the one

rule which all Baroque authorities elsewhere took pains to impress upon us

. as quite

appoggiatura
invariable.,,3

came
In the nineteenth

to be regarded as being
and twentieth

before the beat.

centuries

This
the short

is definate1y

erroneous in terms of the Baroque tradition. We know from the complaints of

C.P.E. Bach that a small minority favored or unintentionally fell into this

practice during the Baroque period. Nevertheless, we must regard as standard

all appoggiaturas as being on the beat.

Long or varying appoggiaturas became popular by the 1700's. They

are like the short appoggiaturas in that they tQo fallon the beat. The

difference in ~he two is in tile length. The duration varies according to

the length of the note to follo,,' (hence the name varying appoggiatura).

Quantz and C.P.E. Bach wrote that this ornament whether ascending or descending

takes one-half of the time of the following note (Fig. 7a) and two-thirds

of the time if tile main note is dotted (Fig. 7b). ~n tied figures, it takes
wr\-t\e-~. f'\().\.\~"". W\'\¥tc.'I\: f\<l~t&.
~

. F'<J'
10.-
 8

up the time of the first tied note (Fig. 8). m1en the note is followed by

. a rest, the appoggiatura takes up the full value of the note, and the main note

is played in the time of the rest (Fig. 9) unless the performer needs time

to breathe or if in an ensemble a moving passage in another voice occurs during

the rest~._.
W~\~\-

Marpurg tried to show in his treatise on clavier playing the exact

lengths of appoggiaturas in his notation. However, Quantz states that

appoggiaturas are written as small notes before the main note. It does not

matter whether quarter, eighth, or sixteenth notes are used; although, it

is customary to use eighth and sixteenth notes only before notes in which

an appoggiatura is to be played very short. By the middle of the nineteenth

. century,

and short
long appoggiaturas

appoggiaturas
were

appeared
written

as grace
into

notes
the melody

with
as ordinary

a stroke
notes,

in the tail.

This innovation, like so many others, failed to gain acceptance; therefore,

we can not rely upon it. It was not a Baroque convention and merely indicates

an editors opinion which may be ill-founded. The len~th of an appoggiatura

must be determined by context, rule, and musicianship and never by appearance.

Only a few Baroque musicians attempted to indicate the length of an appoRgiatura

in notation. The rules of Quantz and C.P.E. Bach remain our best guide; but,

their treatment of the appoggiatura ,.,aspartly novel and must be applied with

caution to J. S. Bach or Handel.

llow can we be sure when a short appoggiatura is appropriate since the

notation for a long, short, and passing appoggiaturas is the same? Recall

that Quantz instructs us to use short appoggiaturas with short notes.

. Donington

Quantz
suggests

and C.P.E.
that

Bach's
one use a long appoggiatura

rules for length,

first

and if it detracts
according

from
to

the harmony
 9

then use a short appoggiatura. If neither seem to fit then try a passing
. appoggiatura.

Mozart discusses three varieties of appoggiaturas that appear less

often in Baroque music. The Ueberwurf is a note which is slurred quietly

on to the note preceding the appoggiatura and is always made upwards; it is

used to make a note livelier. The Ruckfa11 or Abfa11 fall to the note next

appoggiatura to the appoggiatura itself (Fig. 11b).

..

This occurs when the note standing immediately before the appoggiatura is

so remote that an embellishment is needed to make the figure hang together

better or to make it more lively. The Doppe1sch1ag is an embellishment

of four rapid, little notes which occur between the ascending appoggiatura

. and

accent
the note

falls
following it and ~hich

on the appoggiatura
are attached

and is slurred
to the appoggiatura.

to the main note. On the

The

turn the tone diminishes and the main note is played very softly (Fig. 12).

The Halftri11er is exactly the same in appearance as the Doppe1sch1ag except

is The consists
I'
-+ ... #-

rapidJ1itt1e notes which hang onto the main note to enliven the performance

of slow pieces.. TheYJto02-diminish slurred (Fig. 14). The

wn "\h:.VI'. -J' .

disjunct (leapwise) double appoggiatura consists of two preparatory notes

to the main note and serves a rhythmic function. C.P.E. Bach discusses the

. three forms of this double appoggiatura; first, it may consist of the note

below and the note above the main note and may be dotted in slm...tempos (Fig. 15a);
 '.;,
\

10

second, the note before the main note is repeated and followed by the note

. above the main note (Fig. ISb); and third, it may occur in a free form.
A\\~ro Mo.%lO

These accessory notes are softer than the main note and are slurred to the

main note. The principal note gives as much of its length as is necessary to

the ornament. The conjunct double appoggiatura or slide consists of two

stepwise preparatory notes that are slurred to the main note and serves a

rhythmic function. They appear in ascending and descending fOTm; however,

the ascending is more popular (Fig. 16). They, too, may be dotted for slower

tempos.

The acciaccatura is predominantly a keyboard ornament. It is an .

. ascending note that is a half step below the main note. C.P.E. Bach played it

on the beat, slurred it to the main note, and played it very suddenly. The

discord is played simultaneously with the rest of the chord. There is no

sign for it, but usually appears as an extraneous note within the chord.

A trill is a free, rapid, and slurred alternation of the main note

with an upper auxiliary note a tone or semi tone above it and is most necessary

in Baroque music. Cadences are incomplete without a trill. Donington

describes it this way: "Cadences are an inescapable feature of Baroque style,

and rather than trying to escape them it is better to carry them off with

conviction " 4 The cadential trill must be recognized as necessary whether

any sign or other hint is present in the notation. He instructs us to

start the trill with its upper note on the beat, accenting and prolonging

. this note with great emphasis; the entire stress should go to it. In this
 11

. way the trill serves a harmonic function as in a cadentia1 trill. Baroque

musicians referred to this as a "prepared" trill. The trill was called

"unprepared" if the upper note was not especially prolonged. In this way

it served a melodic function.

The speed and number of repercussions in a trill are variable and

unmeasured. Couperin states that trills are to be begun more slowly than

they finish. This, however, is a minority opinion. Most experts on Baroque

music agree with Quantz who says, "for trills to be perfectly beautiful,

they must be made...of regular speed '

and one kept to the same rapidity....

There is no need to make all trills with toe same speed In sad pieces

the trills are made more slowly; but in gay pieces they ought to be made
,,5
more quickly. He continues by stating that the speed and regularity of

a trill depend on taste and context.

. It has been erroneously believed in modern times that a Baroque

trill preceded by a note which is the same note as the upper auxiliary is

an exception to the normal rule and should begin on its main note. The upper

auxiliary, as usual, begins the trill and does so either by repeating the

note before the trill or by being tied to it. The choice between the two

depends on taste and context.

There were two standard terminations of a trill: a) a note of

anticipation and b) a turned ending (by lower auxiliary below the main note).

The note of anticipation may be either detached or slurred according to

the context (Fig. 17). C.P.E. Bach instructs us to slur the ending to the

trill and to play it as quickly as the trill itself (Fig. 18). The choice of

.
 12

. ending,

However,
if not indicated

one or the other

in the music,

is obligatory
is at the performer's

on full trills.
discreti~n.

The half-trill consists of two repercussions (four notes, starting

with the appoggiatura and ending with the main note which is held).

The upper auxiliary is on the beat and not substantially prolonged. No

ending is required. The function of the half-trill is primarily rhythmic;

however, it is to some extent melodic. It occurs most often in passages des-

cending by step (Fig. 19). At a rapid speed this half-trill can not be

wni\-ev--: . p\o':)
td
\},.. "

'--'
executed and becomes an inverted mordent (Fig. 20). This on-the-beat orna-
w~rtteV\'. ()\()..~~ "
w

. ment

A slight
starts with

unintentional
the main note

anticipation
and requires

often occurs
little accent

at speed whith
and no prolongation.

weakens the

effect and therefore should be avoided.

A continued series of trills on a succession of short notes are

for brillance only. They begin on the beat, starting with the upper aux-

iliary, are very brief and rapid, and require no ending.

The mordent is a rapid and free alteration of the main note with

a lower auxiliary note a tone or semitone below it (Fig. 21). Since the
wn1ten ~ pbl..\,~ ~
1\A

standard mordent has primarily a rhythmic function, it is an on-the-beat

ornament starting on the main note and slightly accented. The single mor-

dent has only one repercussion; the double mordent has two repercussions.

. A continued mordent may have any number of repercussions, lasting up to

 13

several bars. The longer the mordent, the less it keeps it rhythmic function

and the more its function becomes merely that of coloring or sustaining

. the tone. The mordent may be taken either diatonically or chromatically.

C.P.E. Bach explains that the "mordent adapts itself to its GonalJ context

in the same way as the trill. Neverthe1ess~ its bri11ance is frequently

L
6
enhanced by [chrOmatiCalli] raising its lower j!uxiliaryJ note."

There is also an inverted mordent, alternating with an upper

instead of with a lower auxiliary note (see Fig. 20). This ornament was common

in the Renaissance and early Baroque periods, was out of fashion in the

main Baroque period, and came into fashion again about the middle of the

eighteenth century.

"The mordent is particularly effective in an ascent by step or by

1eap...never on descending steps of a second," states C.P.E. Bach. 7

He

explains further that "mordents, especially short ones, lend brillance to

. leaping, detached

The turn
notes." 8

is a circling around a main note by upper and lower

auxiliary notes a tone or semitone away. It may be accented and on the

beat (melodic/harmonic function) or it may be unaccented and off the beat

(melodic function). The standard (upper) turn begins on the upper auxiliary,

passes through its main note, touches the lower auxiliary and returns to the

main note (Fig. 22). The inverted (lower) turn begins on its lower auxi-
w\r\\c:..'i\: p\c.~~' wt-\1\\':V\: p\CI.~~:
().~o:.~vrko I..I...~" u..'C'\o.cc.e~=\~~ U.?'()~r

1iary, passes through its main note, touches its upper auxiliary, and returns

to its main note (Fig. 23). Tbe standard, accented turn is the most usual
wn"c:..w. p\Q~e.d~ w~.\\\~\'\: p\o..')~&"
o...c.c.~
~\-ed leV)C.r
Cf.) <:.f) \J.'II\o.tc.~VI.\-~d lo\...X.r

. throughout

ornament,
the Baroque

including
period.

the main note.

A slur if not written

The rhythm of
is implied over the entire
 14

~ the turn is most commonly equal; however, it also occurs in a variety of

unequal rhythms which include dotted and triplet rhythms. Rapid turns are

usually taken in an equal rhythm so as to avoid a jerky effect.

Musicianship is the necessary judge of tempo since time words

are quite misleading. "There are many cases where ~ime word;] cannot be

used for guidance, and where it is necessary to divine the intention of

the composer more from the content of the piece than from the word which
9
is found at the head to indicate its movement," states Quantz. Donington

suggests that we should let the music suggest its own tempo even if this

appears to be contradicted by the time word.

The mood rather than the tempo of a piece is often suggested by the

time words: alleRro (cheerful); andante (fluently); adaRio (gently); largo

(broad); grave (heavy). C.P.E. Bach explains that, 'the tempo of a piece...

~ is derived from its general mood together with the fastest notes and passages

which it includes. Proper attention to these considerations will prevent an

allegro from being hurried and an adagio from being dragged." 10 It is

possible to perform tempos on the fast side thus making the performance full

of brillance and to perform tempos on the slow side to make the performance

intense. Donington, however, suggests that it is best in Baroque music to

take the fast movements slower than you think and slow movements faster than

you think.

Tempos may be judged to some extent on dancing speeds. Dances

frequently have only one tempo at which they can be danced successfully.

Therefore, one must take into consideration the dance steps involved to

properly execute the music. However. it must be remembered that .the same

dance may have very different characteristics and tempos at different

~ periods and places.

 15

The tempo never remains constant throughout any ordinary movement.

. It may fluctuate from almost imperceptible to very conspicuous. Thomas Mace,

in his treatise Musick's Monument, states, " ~eginnerS must learn strict time:

bu~ when we come to be ?lasters so that we can conunand all manner of Time.

at our own pleasures; we then take Liberty (and very often, for Humour ~.e.,
mood~. and good Adornment-sake in certain Places) to Break Time; sometimes
11
Faster, and sometimes Slower, as we perceive. the Nature of the Thing Requires."

Donington states that "most slow movements, and some fast movements, require

plenty of stretching wherever the melodic line can gain expressiveness by

doing this, or some increased tension of the harmony need~ a little additional
12
breadth to make its proper effect.1! This is referred to as stolen time.

Stolen time only momentarily disrupts the regularity of the underlying beat.

Donington stresses that this flexibility of tempo is most appropriate to the

. Baroque style.

Rallentandos are an example of stolen time. Cadences are quite

numberous in Baroque music and should be acknowledged by a rallentando.

However, distinctions must be made between cadences which merely pass on at

once from cadences that bring a portion of the music to a close; the latter

should receive more emphasis. Girolamo Frescobaldi states that, "the closes.

though notated as rapid (Le., lack of a sign)J need to be played in a very

broad manner; and the nearer you come to the conclusion of the passage or close,
13
the more you should hold back.' Donington advises us to avoid numerous

and exaggerated rallentandos. He says that "too little [use of rallentandi]

sounds unfeeling; too much sounds shapeless. Just right does not sound notice-

able at all, but.. .merely natural."

14 "In general, rallentandos are better

suited to slow or comparatively moderate tempos than to rapid ones," states

15
. C.P.E.Bach.

chiefly
The proper moment is often suggested by the harmony, but

it is a sensitive response to hints offered by the music.

 16

. Certain rhythmic alterations were practiced in Baroque music.

These alterations were not shown in the notation; therefore, they were left to

the performer. This is in keeping with other Baroque conventions of ornamen-

tation and tempo; nothing in the music was made rigid which could be left

spontaneous.

Among these liberties taken for granted by performers was the right

to modify a rhythm by performing certain equally notated notes unequally.

This is referred to as inequality and is performed most often by lengthening

the first note and shortening the second note, this being referred to as

standard inequality (Fig. 24). For a more striking effect, one would shorten

the first note and lengthen the second, this being known as reversed inequality

(Fig. 25). A variety of rhythms can be performed such as a triplet rhythm,

v.:H'\*e.~~ {)\o.~Q(\.. wn-t\-e.n: p'a~ed',

. . .

which is called lilting inequality (Fig. 26).and as a dotted rhythm, which is

called vigorous inequality (Fig. 27). The inequality is not precisely measured
\..P \ ,"\\ e.X\ :
p\O ~..d'. \.u~',1\-I(v\' f"Cl~€.d',
~ "?
1-1 r=-,
.

but is proportioned expressively at the discretion of the performer. For

lilting inequality, notes should fall naturally into pairs, be mainly step-

wise, be th~ shortest notes in substantial numbers in a passage, be of moderate

speed, and be graceful rather than,energetic in character. Lilting inequality

should be slurred by pairs, even if not indicated by the notation. This type

of inequality gives a sighing effect when the first note is stressed and the

second note is allowed to die away. A slight separation between each pair

.
 17

of notes is required.

. be neither
Vigorous

very
inequality

fast nor very

requires

slow,
that the notes

and be energetic
fall naturally

rather than graceful

into pairs,

in character. This form of inequality need not be slurred either in the notation

or in the performance. No special stress on the first note nor dying away on

the second note is required. A crisp effect can be attained with vigorous

standard inequality by making a marked separation between each note of a pair

but none between each pair. For reversed inequality, this separation occurs

between each pair but not between each note of a pair (Fig. 28). Predominately
wtt'\\~'Y p~~~
<5 ro.. fX\J~~

leapwise passages are sometimes eligible for vigorous inequality. However,

one must guard against too jerky an effect. At rather high speeds, vigorous

inequality can be exhilarating. However, in quick passages in a very quick

. movement, time may not permit the playing of notes unequally. Generally,

inequality is reserved for the shortest notes in a piece of moderate speed.

Slurs over pairs of notes are an invitation to inequality. Slurs

notated over more than two notes prevent pairing and therefore prevent in-

equality. Staccato signs, dashes, or dots over notes require the notes to

be played equally.

In sequential passages and in imitations where inequality is used

it is necessary to maintain this inequality throughout the matching phrases

or entries and more or less in the same rhythm.

Another variety of rhythmic alterations in Baroque music is dotting.

The dot in our present notation prolongs the value of the notes preceeding it

by one half which is referred to as standard dotting. However, in Baroque

notation it was used to mean any convenient prolonging of the note whether

.
 18

by more than one half (over-dotting) or less than one half (under-dotting).
. Most dotted notes occur in the course of the melody and are of the standard

length with only a slight flexibility for expression. However, if the dotted

notes are persistent enough to dominate the rhythm, or form a distinct

rhythmic figure, under-dotting or over-dotting is required.

Under-dotting is used in passages that are graceful in character

and moderate in speed. It is musically identical to lilting inequality

(approximately a triplet rhythm) thus requiring the same kind of slurring and

phrasing. The standard direction, the first note of each pair being dotted,

is most common; however, the reverse direction, the second note of each pair

being dotted, can be used but is quite rare since a lethargic effect often

results.

Over-dotting is equivalent to vigorous inequality. A passage

. that sounds

the dot and very

sluggish if taken

quickly passing
literally

over
can be made more

the second note.

crisp by lengthening

Slurring is possible;

however, a more vigorous effect is attained by performing the dot as a rest

(Fig 29). As with under-dotting, the standard direction and reversed direction

are equally eligible for over-dotting; thought the standard direction is more

common. A passage that is energetic in character and moderate in speed is

a candidate for over-dotting. .

w nt\ e. "".

.'

It is very necessary for a performer of Baroque music to make the

separation between phrases clearly audible. More separation is necessary for

phrasing within a larger unit such as a section. The time is either taken

out of the last note of the phrase or is inserted as stolen time. Good

. phrasing also includes a stretching of the tempo within the phrase for
 19

. expression,

the peak
a moulding

of a phrase
of the dynamics

and then fall gradually

to allow the sound

to its conclusion,
to intensify at

and an added

intensity at the opening of a new phrase. As is characteristic of Baroque

music, phrasing is left to the performer without any assistance from the

notation.

All degrees of articulation are possible. However, more hints than

instructions occur in the notation. Slurs are occasionally found but are

inconsistent. The performer must work out consistent articulations. According

to Quantz, "it should be said in passing, that if there are several figures

of the same sort of notes in sequence and the first is marked with a slur, they

must all be played in the same way until another kind of notes is met with. It

is the same with notes above which there are dashes." 16

C.P.E. Bach states

that, "in general, the liveliness of ~llegros is conveyed by detached notes,

. and the expressiveness

so marked." 17 Slurs
of .adagios by sustained,

should be laid out very

slurred

simply
notes...even

and symmetrically.
when not

Two

notes slurred and two tongued are the most common. In a triplet figure all

three notes may be slurred or two slurred and one tongued. Ilowever, within

any pattern of articulation, a slight variation in the intensity and duration

of notes is recommended to make the music continously interesting.

Contrast in dynamics is important to the performance of Baroque

music. Besides the overall dynamic scheme which is often notated in the music,

there must be a constant play of loud and soft to keep the interest in the music.

Quantz sums it up by stating the following:

Good expression ought nevertheless to be diversified. Light and

shade must continually be kept up. For in truth you will never
be touching if you render all the notes at the same strength or
the same weakness, if you perform, so to speak, always in the
same colour, and do not know how to bring out and hold back

. the sound at the right time.

a continual interchange
Thus it is nY6essary
of loud and soft.
to introduce
 20

Performers should guard against overdoing the liberties Baroque

. music allows. The following is Donington's summation of this idea:

Too much of the fashionable inequality, over-dotting, and

free ornamentation...can sound worse than too little....
The line comes first, and anything which disturbs a good
sense of the line is quite certainly mistaken in performances
of Baroque music lf it does not !~und like good musician-
ship, it is not good musicianship.

We can come close to authenticity in Baroque music if we approach it with

good musicianship and the necessary information that books and recordings

can give.

.
 21

. 1 Robert Donington, A Performer's

NOTES

Guide to Baroque Music, (New York:

Charles Scribners Sons, 1973), p. 20.
/' 2 J. J. Quantz, On Playing the Flute, (London: Faber & Faber, 1966),
p. q I .
3 Robert Donington, "Ornamentation," Vol. VI, 5th edition of Grove's
Dictionary of Music and Musicians, ed. Eric Blom, (New York: St. Martin's
Press, Inc., 1959), p.
4
Robert Donington, The Interpretation of Early Music, (New York: St.
Martin's Press, Inc., 1959), p. 171.
5 Donington, Performer's Guide, p. 200.
6
Ibid., p. 203.
7 Ibid.

.
8
Donington, Interpretation, p. 197.
9 Ibid. , p. 317.
10 Donington,
Performers Guide, p.249~
11 Donington, Interpretation, p. 366.
12 Donington, Performer's Guide, p. 251.
13 Donington, Interpretation, p. 367.
14 Donington, Performer's Guide, p. 253.
15 Donington, Interpretation, p. 368.
16 Ibid., p. 409.

17 Donington, Performer's Guide, p. 285.

18 Donington, Interpretation, p. 423.
19 Donington, Performer's Guide, p. 299.

.
 22

. BIBLIOGRAPHY

Donington, Robert. The Interpretation of Early Music. (New York: St. Martin's
Press, 1963).

Donington, Robert. A Performer's Guide to Baroque Music. (New York: Charles

Scribners Sons, 1973).

Donington, Robert. "Ornamentation." Vol. VI, 5th edition of Grove's Dictionary

of Music and Musicians. ed. Eric B1om. (New York: St. Martin's Press, Inc!,
1959).

Mozart, Leopold. A Treatise on

, Violin Playing. (London: E. Knocker, 1948).
Quantz, J. J. On P1ayinR the Flute. (London: Faber & Faber, 1966).