Klarinet Archive - Posting 000618.txt from 2010/09

From: "Colin Touchin" <colin.touchin@-----.com>
Subj: Re: [kl] Klarinet Digest, Vol 7, Issue 81 - trills
Date: Thu, 23 Sep 2010 18:55:07 -0400

The upper note rule for trills in the baroque comes from that note being
discordant with the bass and needing to resolve - the trill is effectively a
repetition of Dischord-Resolution-Dischord-Resolution, speeding up and
ending, often, in a turn or anticipation to the finishing note. Thus in baroque
and classical music if the trill's upper note would not be discordant with the
bass, the trill can begin on the written pitch. And the upper note played as
a dischord must of course coincide with its bass note and not anticipate its
harmony. This leads to distinguishing two basic types of trill - harmonic and
melodic - the latter type dominate in the classical period, whereas the
former dominate in the baroque.
In the renaissance the singers used a reiterazione at cadences - my guess
is the violinists, cornettists and recorderists of the time chose to trill instead
(since repeated bowing, tonguing, etc would have been less brilliant than
the voice's effect/affekt at this time) and developed the series of
embellishments that grew in complexity and frequency throughout the
baroque, differently in different countries.
ALL embellishment must take note of the harmony, whatever period or
country of composition. Colin.
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