In music, ornaments are musical flourishes that are not necessary to carry the overall line of the melody (or harmony), but serve instead to decorate or "ornament" that line. Music is an Art form in which the medium is Sound organized in Time. Many ornaments are performed as "fast notes" around a central note. The amount of ornamentation in a piece of music can vary from quite extensive (it was often so in the Baroque period) to relatively little or even none. Baroque music describes an era and a set of styles of European classical music which were in widespread use between approximately 1600 and 1750. The word agrément is used specifically to indicate the French Baroque style of ornamentation. A very important function of the ornamentation in early and baroque keyboard music was as a way of creating a longer sustain of the note on a harpsichord, clavichord or virginal; such instruments being unable to sustain a long note in the same manner as a pipe-organ. Baroque art redirects here Please disambiguate such links to Baroque painting, Baroque sculpture, etc Sustain is a Parameter of Musical Sound in Time. As its name may imply it denotes the period of time during which the sound is sustained before A harpsichord is a Musical instrument played by means of a keyboard. The clavichord is a European stringed Keyboard instrument known from the late Medieval, through the Renaissance, Baroque and Classical The virginals (the plural form does not necessarily denote more than one instrument or virginal is a Keyboard instrument of the Harpsichord family The pipe organ is a Musical instrument that produces sound when pressurized air (wind is driven through a series of pipes, controlled by a keyboard

In the baroque period, it was common for performers to improvise ornamentation on a given melodic line. Musical Improvisation is the creative activity of immediate Musical composition, which combines performance with communication of emotions and instrumental A singer performing a da capo aria, for instance, would sing the melody relatively unornamented the first time, but decorate it with additional flourishes the second time. The da capo aria was a musical form prevalent in the Baroque era Improvised ornamentation continues to be part of the Irish musical tradition^[1], particularly in sean nós singing but also throughout the wider tradition as performed by the best players. Irish Music is the generic term for music that has been created in various genres on the entire island of Ireland, North and South of the border Sean Nós, in Irish means "old style" and refers to a style of traditional singing or dancing.

Ornamentation may also be indicated by the composer. A number of standard ornaments (described below) are indicated with standard symbols in music notation, while other ornamentations may be appended to the staff in small notes, or simply written out normally. See also Modern musical symbols Music notation or musical notation is any system which represents aurally perceived Music through the use Frequently, a composer will have their own vocabulary of ornaments, which will be explained in a preface, much like a code. A grace note is a note written in smaller type, with or without a slash through it, to indicate that its note value does not count as part of the total time value of the measure. A grace note is a kind of Music notation used to denote several kinds of musical ornaments. In Music notation, a note value indicates the relative Duration of a note, using the color or shape of the Note head, the presence In Musical notation, a bar or measure is a segment of time defined as a given number of beats of a given duration Alternatively, the term may refer more generally to any of the small notes used to mark some other ornament (see Appoggiatura, below), or in association with some other ornament's indication (see Trill, below), regardless of the timing used in the execution.

In Spain, these ornaments were called "diferenzias", and can be traced back to the early 16th century, when the first books with music for the guitar were produced. Spain () or the Kingdom of Spain (Reino de España is a country located mostly in southwestern Europe on the Iberian Peninsula. The latest site to introduce this is http://www.musicturnon.com or www. musicturnon. com as plain speak.

Baroque/Classical

Trill

Main article: trill (music)

A trill is a rapid alternation between an indicated note and the one above, also known as the shake. The trill is a musical ornament consisting of a rapid alternation between two adjacent notes of a scale (compare Mordent and Tremolo) The trill is a musical ornament consisting of a rapid alternation between two adjacent notes of a scale (compare Mordent and Tremolo) Usually, if the music containing the trill was written before 1800 the trill is played by starting a note above the written note. Year -of the Julian calendar. The Gregorian calendar was 11 days ahead of the Julian calendar until Friday, but 12 days ahead since Saturday. If the music was written after 1800 then the trill is usually played by starting on the note written and going up to the note above. A printed score will often indicate which interpretation is to be used, either in the preface to the score or by using a grace note.

Sometimes it is expected that the trill will end with a turn (by sounding the note below rather than the note above the principal note, immediately before the last sounding of the principal note), or some other variation. Such variations are often marked with a few grace notes following the note that bears the trill indication.

The trill is indicated by either a or a ~~, with the ~ representing the length of the trill, above the staff. In standard Western Musical notation, the staff ( AmE) or stave In Baroque music sometime the trill is indicated with a + (plus) sign above or below the note.

Mordent

The mordent is thought of as a rapid single alternation between an indicated note, the note above (called the upper mordent, inverted mordent, or pralltriller) or below (called the lower mordent or mordent), and the indicated note again. In music a mordent is an ornament indicating that the note is to be played in a single rapid alternation with the note above or below

The upper mordent is indicated by a short squiggle (which may also indicate a trill); the lower mordent is the same with a short vertical line through it:

This can also be called a turn

As with the trill, the exact speed with which the mordent is performed will vary according to the tempo of the piece, but at moderate tempi the above might be executed as follows:

Mordents

First bar of Goldberg Variation 7, first played with lower mordents, then without — 134 KB

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Confusion over the meaning of the unadorned word mordent has led to the modern terms upper and lower mordent being used, rather than mordent and inverted mordent. Practice, notation, and nomenclature vary widely for all of these ornaments, that is to say, whether, by including the symbol for a mordent in a musical score, a composer intended the direction of the additional note (or notes) to be played above or below the principal note written on the sheet music varies according to when the piece was written, and in which country. The musical instrument is spelled Cymbal. A symbol is something --- such as an object, Picture, written word a sound a piece Sheet music is a hand-written or printed form of Musical notation; like its analogs -- books pamphlets etc This article as a whole addresses an approximate nineteenth-century standard. An approximation (represented by the symbol ≈ is an inexact representation of something that is still close enough to be useful

In the Baroque period, a Mordant (the German or Scottish equivalent of mordent) was what later came to be called an inverted mordent and what is now often called a lower mordent. Baroque music describes an era and a set of styles of European classical music which were in widespread use between approximately 1600 and 1750. A mordant is a substance used to set Dyes on fabrics by forming an insoluble compound with the dye The German language (de ''Deutsch'') is a West Germanic language and one of the world's major languages. Scots ( The Scots leid) refers to Anglic varieties derived from early northern Middle English spoken in parts of Scotland and Northern In music a mordent is an ornament indicating that the note is to be played in a single rapid alternation with the note above or below In the 19th century, however, the name mordent was generally applied to what is now called the upper mordent. The 19th century of the Common Era began on January 1, 1801 and ended on December 31, 1900, according to the Gregorian calendar Although mordents are now thought of as just a single alternation between notes, in the Baroque period a Mordant may sometimes have been executed with more than one alternation between the indicated note and the note below, making it a sort of inverted trill. Mordents of all sorts might typically, in some periods, begin with an extra inessential note (the lesser, added note), rather than with the principal note as shown in the examples here. The same applies to trills, which in Baroque and Classical times would standardly begin with the added, upper note. A lower inessential note may or may not be chromatically raised (that is, with a natural, a sharp, or even a double sharp) to make it just one semitone lower than the principal note.

Turn

A short figure consisting of the note above the one indicated, the note itself, the note below the one indicated, and the note itself again. It is marked by a mirrored S-shape lying on its side above the staff.

The details of its execution depend partly on the exact placement of the turn mark. The following turns:

might be executed like this:

The exact speed at which the notes of a turn are executed can vary, as can its rhythm. The question of how a turn is best executed is largely one of context, convention, and taste. The lower added note may or may not be chromatically raised (see mordent).

An inverted turn (the note below the one indicated, the note itself, the note above it, and the note itself again) is usually indicated by putting a short vertical line through the normal turn sign, though sometimes the sign itself is turned upside down.

Appoggiatura

Appoggiatura (pronounced [əˌpɒʤəˈtʊ(ə)ɹə] in English, [appodʤaˈtuːɾa] in Italian) comes from the Italian verb appoggiare, "to lean upon". The long appoggiatura is important melodically and often suspends the principal note by taking away the time-value of the appoggiatura prefixed to it (generally half the time value of the note, though in triple time, for example, it might receive two thirds of the time). The added note (the unessential note) is one degree higher or lower than the principal note; and, if lower, it may or may not be chromatically raised (see mordent). In Music, ornaments are musical flourishes that are not necessary to carry the overall line of the melody (or harmony but serve instead to decorate or "ornament"

The appoggiatura is written as a grace note prefixed to a principal note and printed in small character, usually without the oblique stroke:

This would be executed as follows:

Appoggiatura

A passage with two phrases ending in appoggiaturas, followed by these phrases without them — 160 KB

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Appoggiaturas are also usually on the strong or strongest beat of the resolution and are approached by a leap and leave by a step. Musicians' mnemonic: the appoggiatura is longer than the acciaccatura because it is podgy.

So-called unaccented appoggiaturas are also quite common in many periods of music, even though they are deprecated by some early theorists (for example CPE Bach, in his Versuch über die wahre Art das Clavier zu spielen). Carl Philipp Emanuel Bach ( March 8, 1714 &ndash December 14, 1788) was a German musician and composer the second of five sons While not being identical with the acciaccatura (see below), these are almost always quite short, and take their time from the allocation for the note that precedes them. They are more likely to be seen as full-size notes in the score, rather than in small character – at least in modern editions.

Acciaccatura

Acciaccatura (pronounced [əˌʧækəˈtʊ(ə)ɹə] in English, [atʧakkaˈtuːɾa] in Italian) comes from the Italian verb acciaccare, "to crush". The acciaccatura (sometimes called short appoggiatura) is perhaps best thought of as a shorter, less melodically significant, variant of the long appoggiatura, where the delay of the principal note is scarcely perceptible – theoretically subtracting no time at all. It is written using a grace note (often a quaver, or eighth note), with an oblique stroke through the stem:

The exact interpretation of this will vary according to the tempo of the piece, but the following is possible:

Whether the note should be played before or on the beat is largely a question of taste and performance practice. Exceptionally, the acciaccatura may be notated in the bar preceding the note to which it is attached, showing that it is to be played before the beat. (This guide to practice is unfortunately not available, of course, if the principal note does not fall at the beginning of the measure. )

The implication also varies with the composer and the period. For example, Mozart's and Haydn's long appoggiaturas are – to the eye – indistinguishable from Prokofiev's and Moussorgsky's before-the-beat acciaccaturas. In some cases on instruments that permit it, such as the piano, the acciaccatura is sounded simultaneously with the principal note, and then immediately released.

Glissando

Main article: Glissando

A glissando is a slide from one note to another, signified by a wavy line connecting the two notes

In J. " Glissando " (plural glissandi abbreviated gliss is a glide from one pitch to another S. Bach

Ornaments in the music of JS Bach (and to an extent in Baroque music generally) take on a different meaning. WikipediaWikiProject Composers#Lead section.2 This article is written in British English including maximised use of "-ise" Baroque music describes an era and a set of styles of European classical music which were in widespread use between approximately 1600 and 1750. Most ornaments occur on the beat, and use diatonic intervals more exclusively than ornaments in later periods do. While any table of ornaments must give a strict presentation, consideration has to be given to the tempo and note length, since at rapid tempos it would be difficult or impossible to play all of the notes that are usually required. One realisation of some common Baroque ornaments is set in the following table, made by J. S. Bach's father, Johann Ambrosius Bach^[2]:

Renaissance / Early Baroque

From Silvestro Ganassi's treatise in 1535 we have instruction and examples of how musicians of renaissance and early baroque decorated their music with improvised ornaments. Johann Ambrosius Bach ( February 24, 1645 – February 24, 1695) was a German musician Michael Praetorius spoke warmly of musicians' "sundry good and merry pranks with little runs/leaps". Michael Praetorius (probably February 15 1571 &ndash February 15 1621 was a German Composer, organist, and writer about Music.

Until the last decade of the 16th century the emphasis is on divisions, also known as diminutions, passaggi (in Italian) or glosas (by Ortiz) - a way to decorate a simple cadence or interval with extra shorter notes. These start as simple passing notes, progress to step-wise additions and in the most complicated cases are rapid passages of equal valued notes - virtuosic flourishes. There are rules for designing them, to make sure that the original structure of the music is left intact. Towards the end of this period the divisions detailed in the treatises contain more dotted and other uneven rhythms and leaps of more than one step at a time.

Starting with Archilei (1589), the treatises bring in a new set of expressive devices called graces alongside the divisions. These have a lot more rhythmic interest and are filled with affect as composers took much more interest in text portrayal. It starts with the trillo and cascate, and by the time we reach Francesco Rognoni (1620) we are also told about fashionable ornaments: portar la voce, accento, tremolo, gruppo, esclamatione and intonatio. Francesco Rognoni Taeggio (born in Milan second half of the 16th century–died after 1626 was an Italian composer ^[3]

Key treatises detailing ornamentation:

• Silvestro Ganassi dal Fontego Opera intitulata Fontegara. Sylvestro di Ganassi dal Fontego (1492 &ndash mid-16th century was an Italian music instrumentalist . . , Venice 1535
• Diego Ortiz Trattado de glosas. Diego Ortiz (ca 1510 &ndash 1570) was a Spanish Composer and Musicologist, in service to the Spanish Viceroy in . . , Rome, 1553
• Girolamo Dalla Casa Il vero modo diminuir. Girolamo Dalla Casa (died 1601 was an Italian composer instrumentalist and writer of the late Renaissance. . . , Venice 1584
• Giovanni Bassano Ricercate, passaggi et cadentie. Giovanni Bassano (c 1558 – summer 1617? was an Italian Venetian School composer and Cornettist of the late Renaissance and early Baroque eras . . , Venice 1585
• Riccardo Rognoni Passaggi per potersi essercitare nel diminuire,
• Giovanni Luca Conforto Breve et facile maniera. Riccardo Rognoni (c 1550 &ndash before 20 April 1620) is the earliest known member of the Rognoni family which started one of the earliest of all violin schools . . passaggi, Rome 1593
• Giovanni Battista Bovicelli Regole, passaggi di musica madrigali e motetti passaggiati, Venice 1594
• Aurelio Virgiliano Il Dolcimelo, c. 1600
• Francesco Rognoni Selva de varii passaggi. Francesco Rognoni Taeggio (born in Milan second half of the 16th century–died after 1626 was an Italian composer . . , 1620
• Giovanni Battista Spadi da Faenza Libro de passaggi ascendenti e descendenti, Venice, 1624

In non-Classical music

Rock and pop

Ornamentation is also used in popular music such as rock and pop. Rock piano playing has incorporated many ornaments from early 1900s blues piano styles such as boogie-woogie. Boogie-woogie is a style of Piano -based Blues that became very popular in the late 1930s and early 1940s but originated much earlier and was extended from piano Improvised ornaments in rock solos or instrumental melody lines are often idiomatic to specific instruments. Electric guitar players use a variety of ornaments that are specific to their instrument, such as the hammer-on and the pull-off, both of which can resemble a trill. Hammer-on is a Stringed instrument playing technique performed (especially on Guitar) by sharply bringing a fretting-hand finger down on the Fingerboard A pull-off is a stringed instrument technique performed by plucking a string by "pulling" the string off the Fingerboard with one of the fingers being used

While rock and pop are typically learned "by ear", with the arrangements fleshed out with improvisation, the style also includes notated music, particularly in arranged music for larger ensembles. This notated music uses some of the most-used "Classical" ornaments, such as trills and mordents.

Jazz

Jazz music incorporates a number of ornaments, which can be divided into improvised ornaments, which are added by performers during their solo extemporizations, and written ornaments. Improvised ornaments are often idiomatic to specific instruments. The Hammond organ playing in the jazz subgenre of organ trio soul jazz often features trills which outline the harmony of a chord, glisses up or down the keyboard, and turn-like decorations. Saxophone players may decorate a simple melody line with turns, grace notes, and short glissandos created with the mouth and the reed.

While jazz is substantially based upon improvisation, the style also includes notated music, particularly in music for larger ensembles such as big bands. Small ensembles may also use notated music for part of their performances, in arrangements of a tune's main theme. Notated jazz music incorporates most of the standard "Classical" ornaments, such as trills, grace notes, and mordents. As well, written jazz notation may also include other ornaments, such as "dead notes" (a percussive sound, notated by an "X"), glissandos (a portamento between notes written with a long line), or an instruction to "fill" part of a bar with an embellishment (notated with diagonal slashes in the bar). In Popular music, a fill is a shortened musical passage Riff, or rhythmic sound which helps to sustain the listener's attention during a break between the phrases

References

• This article incorporates text from the Encyclopædia Britannica Eleventh Edition, a publication now in the public domain. The Encyclopædia Britannica Eleventh Edition (1910–1911 is a 29-volume reference work that marked the beginning of the Encyclopædia Britannica The public domain is a range of abstract materials &ndash commonly referred to as Intellectual property &ndash which are not owned or controlled by anyone

External links

• An interesting explanation of different kinds of ornaments