Quantz on Ornamentation

Ch. 8: Of the Appoggiaturas,

and the Little Essential Graces Related to Them

Compiled with annotations by

Greg Dikmans

BMus (Sydney Uni)

Diploma in Traverso - 1st Prize (Brussels Con)

MA (LaTrobe Uni)

Source:
Johann Joachim Quantz: Versuch einer Anweisung die Flöte traversiere zu spielen
(Essay of a Method for Playing the Transverse Flute), (Berlin: 1752)

Translated as On Playing the Flute by Edward R. Reilly

(1966 / 1971 /1976 / 2nd ed. 2001)

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© Greg Dikmans / [Link]

 Ornamentation
For Quantz, the aim of the Ornaments help to express the passions and make a plain melody more
musician is ‘to make agreeable. They may be notated by the composer and, if not, the
themselves masters of the performer is expected to add them as appropriate. Quantz says:
hearts of their listeners, to
arouse or still their The embellishments or graces … serve, in accordance with the temper
passions, and to transport
them now to this
of the piece, to excite cheer and gaiety, while the simple appoggiaturas,
sentiment, now to on the contrary, arouse tenderness and melancholy. Since music should
that.’ (XI/§ 1) now rouse the passions, now still them again, the utility and necessity
of these graces in a plain and unadorned melody is self-evident.
Quantz discusses two types of ornamentation:

(1) Wesentliche Manieren (essential graces) have a limited range and a

relatively fixed melodic form: for example, appoggiaturas, turns,
mordents, and shakes (trills). They are used in nearly all types of
composition.

(2) Willkührliche Veränderungen (extempore or arbitrary variations)

usually have a wider range and a variable melodic form depending on
the shape of the melody and the underlying harmony. When used, they
are specific to each particular piece. Quantz gives many examples of how
to create variations on different intervals.

Long appoggiaturas have There are two types of appoggiatura: the ‘accented’ — which are played
a harmonic function. long to emphasise a dissonance at cadences and elsewhere (harmonic
Short appoggiaturas function) — and the ‘passing’ — which are short and unaccented, and
(graces) have a melodic used to enliven and give brilliance to a melody (melodic function).
function.
Dissonances, such as those created by long appoggiaturas, are expressive
notes that always require emphasis. Quantz says ‘the passions may be
perceived from the dissonances’ and dissonances ‘serve as the means to
vary the expression of the different passions.’

Turns and half-shakes often connect a long appoggiatura to its following

main note. Quantz says they are ‘customary in the French style for giving
brilliance to a piece.’

Battements (mordents) are used to ‘enliven’ notes and make them

‘brilliant’ in places where appoggiaturas are not permitted.

Shakes (trills) are absolutely fundamental to good execution:

Shakes add great lustre to one’s playing, and, like appoggiaturas, are
quite indispensable. If an instrumentalist or singer were to possess all
the skill required by good taste in performance, and yet could not strike
good shakes, his total art would be incomplete.

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 Very often extempore variations are not necessary:

A well-written melody, which is already sufficiently pleasing in itself,

must never be varied, unless you believe it can be improved. If you wish
to vary something, you must always do it in such fashion that the
addition is still more agreeable in the singing phrases, and still more
brilliant in the passage-work, than they stand as written.

Cadenzas
A cadenza is an elaborated final cadence for the soloist. In the mid-18th
century (and in accordance with the galant aesthetic) it was not intended
as an opportunity for extended virtuosic display. Quantz outlines the
general rules to keep in mind and gives some examples.

The object of the cadenza is simply to surprise the listener unexpectedly

once more at the end of the piece, and to leave behind a special
impression in his heart. … You must not believe, however, that it is
possible to accomplish this simply with a multitude of quick passages.
A cadenza must stem from the principle passion of the piece. The soloist
can choose one of the most pleasing phrases from the piece and fashion a
cadenza from it. Quantz says not to be ‘too extravagant’ and to ‘proceed
economically’ for

the passions can be excited much more effectively with a few simple
intervals, skilfully mingled with dissonances, than with a host of
motley figures.

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 Chapter VIII

Of the Appoggiaturas,
and the Little Essential Graces Related to Them
§1

Appoggiare (It) = to lean In performance appoggiaturas (German, Vorshlägen, Italian, appoggiature,

(on or against) = Appuyer French, ports de voix) are both ornamental and essential.
(Fr)
Without appoggiaturas a melody would often sound very meagre and
Port de voix = carry the
voice plain. If it is to have a galant air, it must contain more consonances than
dissonances; but if many of the former [consonances] occur in succession,
According to Quantz the and several rapid notes are followed by a long one that is also a
galant aesthetic is based on consonance, the ear may easily be wearied by them.
the principles of clarity,
pleasingness and Hence dissonances must be used from time to time to rouse the ear. And
naturalness. in this connexion appoggiaturas can be of considerable assistance, since
‘Being galant, in general’, they are transformed into dissonances, such as fourths and sevenths, if
wrote Voltaire, ‘means they stand before thirds or sixths reckoned from the bass, and are then
seeking to please.’ properly resolved by the following notes.

§2

There are exceptions – To avoid confusion with ordinary notes, they are marked with very small
see the discussion of notes, and they receive their value from the notes before which they
‘short’ appoggiaturas stand. [There are exceptions: see below]
below.
It is of little importance whether they have one or two crooks. Usually
they have only one.

Semiquavers are generally used only before notes that must not be
deprived of any [actually only a small part] of their value. For example,
with two or more long repeated notes, whether crotchets or minims (see
Tab. VI, Fig. 25), these little semiquavers, taken either from above or
below, are expressed very briefly, and tipped in place of the principal
notes on the beat.

Quantz does make some

differences in notation in
his Sei Duetti (1759).

See also § 9 (below)

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 §3

Strange wording here. The Appoggiaturas [long ones] are [normally] retardations of the prefixed
main note is delayed by notes. Therefore they can be taken from either above or below, depending
the Vorshlag taking some upon the position of the prefixed note (see Tab. VI, Figs. 1 and 2).
of its value. The main note
is prefixed by the Vorshlag.
Tromlitz (Unterrich, 1791)
is more clear: ‘The Vorhalt
or Vorshlag is a retardation
of a note through a If the preceding [ordinary] note stands one or two steps higher than that
preceding one.’ which follows, before which the appoggiatura is found, the appoggiatura
is taken from above (see Tab. VI, Fig. 3).
Quantz points out the But if the preceding note is lower than the following one, the
harmonic function of the appoggiatura must be taken from below (see Fig. 4); it generally becomes
long appoggiaturas as a
a ninth, resolving to the third above, or a fourth, resolving to the fifth
dissonance that is resolved
on to the main note.
above.

§4

The Abzug is a very vocal [Long or accented] appoggiaturas must be tipped gently with the tongue,
nuance. allowing them to swell in volume if time permits; the following notes are
It is like a quick Messa di slurred a little more softly.
voce (Italian, ‘placing of
voice’). This type of embellishment is called the Abzug; it originated with the
Italians.
Messa di voce: ‘A direction
for a singer to gradually [Quantz also discusses the long appoggiatura in Ch. 17, Sec. 2, §20]
increase and then
gradually decrease the
volume on a single long-
held note. This effect, Ch. 17: Of the Duties of Those Who Accompany
which requires excellent
Section II: Of the Ripieno Violinists in Particular
breath control, was
frequently used by bel § 20
canto singers of the
eighteenth century.’ In the Adagio [slow movements] long appoggiaturas [langen Vorshläge]
that derive their value from the notes following them must be so bowed
as to increase in volume, without accentuation, and must be slurred
gently to the following notes, so that the appoggiaturas sound a little
stronger than the notes that follow them.

In the Allegro [fast movements], on the other hand, they [long

appoggiaturas] may be slightly accented.

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 §5

Two types of appoggiatura: There are two kinds of appoggiaturas. Some are tipped as accented notes,
Accented (long) or notes on the downbeat, others as passing notes, or on the upbeat.
Anschlagende Vorshläge The former may be called accented, the latter, passing appoggiaturas.
Ports de voix frappant
Passing (short & unaccented)
Durchgehende Vorshläge
Ports de voix passagers

§6

Hotteterre (1707) calls Passing appoggiaturas occur when several notes of the same value
them coulements (from descend in leaps of thirds (see Tab. VI, Fig. 5). When performed they are
couler, to flow, run or expressed as illustrated in Fig. 6.
slide).
He says they ‘count for The dots are lengthened, and the notes on which the slurs begin, that is,
nothing in the bar’ (i.e. the second, fourth, and sixth, are tipped [tongued].
they don’t add an extra
beat to the bar).

Notes of this kind must not be confused with those in which a dot
appears after the second [Lombardic rhythm - which Quantz usually
notates as in the example], and which express almost the same melody
(see Fig. 7).

In this figure the second, fourth, and following short notes fall on the
downbeat, as dissonances against the bass; when performed, they are
executed boldly and briskly, while the appoggiaturas discussed here
require, on the contrary, a flattering expression.

Were the little notes in Fig. 5 lengthened, and tipped in the time of the
following principal notes, the melody would be completely altered, and
would sound as illustrated in Fig. 8.

But this would be opposed to the French style of playing, to which these
appoggiaturas owe their origin, hence to the intention of their inventors,
who have met with almost universal approbation in this regard.

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 Often two appoggiaturas are also found before a note, the first marked
with a small note, but the second by a note reckoned as part of the beat;
they occur at caesuras (see Fig. 9).

Here the little note is again tipped briefly, and reckoned in the time of the
previous note in the upbeat. Thus the notes in Fig. 9 are played as
illustrated in Fig. 10.

§7

Accented appoggiaturas, or appoggiaturas which fall on the downbeat,

are found before a long note on the downbeat following a short one on
the upbeat (see Tab. VI, Fig. 11).

Here the appoggiatura is held for half the value of the following principal
note, and is played as illustrated in Fig. 12.

§8

If the note to be ornamented by the appoggiatura is dotted, it is divisible

into three parts. The appoggiatura receives two of these parts, but the
note itself only one part, that is, the value of the dot.

Therefore the notes in Fig. 13 are played as illustrated in Fig. 14.

These rules, and those given in the preceding paragraph, are generally
applicable [though there are exceptions], regardless of the species of notes
or of the position of the appoggiaturas above or below them.

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 §9

6/8 and 6/4 time If in six-eight or six-four time two notes are tied together upon
the same pitch, and the first is dotted, as occurs in gigues, the
appoggiaturas are held for the value of the first dotted note (see
Figs. 15 and 17). They are played as illustrated in Figs. 16 and 18,
and thus depart from the preceding rule.

With regard to appoggiaturas, these metres must be considered as

duple rather than triple.

Quantz: Sei Duetti (1759).

§ 10

Short appoggiaturas when If there are shakes upon notes which form dissonances against
the main note is a the bass, whether the augmented fourth, the diminished fifth, the
dissonance. seventh, or the second (see Figs. 19, 20, 21, and 22), the
The dissonances are appoggiaturas before the shakes must be very short, to avoid
expressive notes and transforming the dissonances into consonances.
should be heard.

For example, if in Fig. 21 the appoggiatura A were held half as

long as the following G sharp with the shake, the sixth, F to A,
would be heard instead of the seventh, F to G sharp, which
should be heard; this must be avoided as much as possible if the
beauty and agreeableness of the harmony are not to be spoiled.

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 § 11

The appoggiatura If a rest follows a note, the appoggiatura receives the time of the
(dissonance) resolves into note, and the note the time of the rest, unless the need to take
the rest. breath makes this impossible.
Quantz is very practical
about considering the The three kinds of notes in Fig. 23 are thus played as illustrated in
need to take a breath. Fig. 24.
A change in the harmony
also ‘makes this
impossible’. This is why I
felt the need to add a bass
line to the Moderato (Fig.
26).
§ 12

It is not enough to be able to play the different types of

appoggiaturas with their proper values when they are marked.
You must also know how to add them at the appropriate places
when they are not indicated. To learn this, make the following
rule your guide:

This is demonstrated in if a long note [a relatively longer note] follows one or more
the Moderato (Fig. 26) short notes on the downbeat or upbeat, and remains in a
consonant harmony, an appoggiatura may be placed before the
long note, in order to constantly maintain the agreeability of
the melody.

The preceding note will show whether it must be taken from

above or below.

§ 13

I would now like to give a short example which includes most of the
different kinds of appoggiaturas (see Fig. 26).

If you wish to be convinced of the necessity and effectiveness of

appoggiaturas, play this example first with the designated appoggiaturas,
then without them. You will perceive very distinctly the difference in
style.

The example will also make it clear that the appoggiaturas are placed for
the most part before notes which have quicker notes either before or after
them, and also that appoggiaturas are required in the majority of shakes.

Quantz has given all the ‘rules’ necessary to

play the Moderato (Fig. 26) except one that he
discusses in Ch. 17, Sec. 2, §20.

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 Ch. 17: Of the Duties of Those Who Accompany
Section II: Of the Ripieno Violinists in Particular

§ 20

Short appoggiaturas [kurzen Vorshläge], among which those between

descending leaps of thirds are reckoned, must be touched very briefly
and softly, as though, so to speak, only in passing.

For example, those in Tab. XXII, Figs. 36 and 37, must not be held,
especially in a slow tempo; otherwise they will sound as if they are
expressed with regular notes, as is to be seen in Figs. 38 and 39. This,
however, would be contrary not only to the intention of the composer,
but to the French style of playing, to which these appoggiaturas owe
their origin.

The little notes belong in the time of the notes preceding them [i.e.
they are played before the beat], and hence must not, as in the second
example, fall in the time of those that follow them.

Fig. 37 is a new example

Table XXII
not mentioned in Ch. 8.

Please refer to the PDF of this Moderato with

the bass line I added to help clarify the
dissonances and implied harmonies.

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 § 14

Please refer to PDF Several other little embellishments stemming from the appoggiaturas,
handouts. such as

• the half-shake [halbe Triller] (see Tab. VI, Figs. 27 and 28),

• the pincé (the mordent; see Figs. 29 and 30), and

• the doublé or turn [Doppelschlag] (see Fig. 31)

are customary in the French style for giving brilliance to a piece.

The half-shakes are of two kinds (see Figs. 27 and 28), and may be added
to upper appoggiaturas in place of the simple Abzug.

The pincés are also of two sorts and, like the doublés, may be added to
lower appoggiaturas.

§ 15

The battemens (see Figs. 32 and 33) may be introduced in leaps, where
appoggiaturas are not permitted, to enliven the notes and make them
brilliant.

On the flute the first [Fig. 32] must be produced with a simultaneous blow
of the finger and stroke of the tongue, and may be introduced in quick
notes as well as slow ones.

The second is more suitable for rather slow notes than for rapid ones; but
the demisemiquavers must still be produced with the greatest speed, and
thus the fingers must not be raised too high.

§ 16

See Francesco Geminiani The embellishments or graces which I have described in the 14th and 15th
(1687-1762). sections serve, in accordance with the temper of the piece, to excite cheer
A treatise of good taste in the and gaiety, while the simple appoggiaturas, on the contrary, arouse
art of music (London, 1749). tenderness and melancholy.
The art of playing on the
Since music should now rouse the passions, now still them again, the
violin (London, 1751).
utility and necessity of these graces in a plain and unadorned melody is
[Link]
self-evident.

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 § 17

Please refer to PDF If you wish now to mix the graces described in the 14th and 15th sections
handouts. with the pure appoggiaturas used in the example in Tab. VI, Fig. 26 [the
Moderato], and introduce them after the appoggiaturas, you may do so in
the following manner at the notes that have letters above them.

• The grace [Manier] in Fig. 27 may be introduced at the notes beneath (c),
(d), (f), (i), and (n).

• That in That in Fig. 28 is proper with the note at (k).

• That in Fig. 29 is made at the notes beneath (g) and (m).

• That in Fig. 30 should be heard at (e), but that in Fig. 31 at (b).

• That in Fig. 32 may be joined to the notes beneath (a) and (l), and

• that in Fig. 33 to the note under (h).

It is obvious that the graces must everywhere be transposed to the notes

indicated by the appoggiaturas.

§ 18

In this mixture of the simple appoggiaturas with the little graces, or

French propretés [Propretäten], it will be found that the melody is much
more lively and brilliant with the latter than without them.

The mixture, however, must be undertaken with discernment; for a

considerable part of good execution depends upon it.

§ 19

[Some Advice & Words of Warning]

Quantz occasionally goes Some persons greatly abuse the use of the extempore embellishments as
on a rant. I find them well as the appoggiaturas and the other essential graces described here.
entertaining and they They allow hardly a single note to be heard without some addition,
always contain useful
wherever the time or their fingers permit it.
information (often about
what not to do). They make the melody either too weak through an excessive load of
As a student of rhetoric, he appoggiaturas and Abzüge, or too variegated through a superabundance
could be using strong of whole and half shakes, mordents, turns, battemens, &c. These they
emotions to forcefully
frequently introduce upon notes which even an insensitive musical ear
make his point.
recognises as inappropriate.
exaggeration (hyperbole)
If it happens that a celebrated singer has a particularly pleasing manner
of introducing appoggiaturas, at once half the singers of his country begin
to howl, and to dampen the fire of their liveliest pieces with their
offensive wailings; and in this fashion they believe they are approaching,
if not surpassing, the merits of that celebrated singer.

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 It is true that the ornaments described above are absolutely necessary
for good execution. But they must be used sparingly or they become too
much of a good thing. The rarest and most tasteful delicacies produce
nausea if over-indulged. The same is true of musical embellishments if we
use them too profusely, and attempt to overwhelm the ear.

A sublime, majestic, and vigorous air can be made common and insipid
through poorly introduced appoggiaturas, and a melancholy and tender
air, on the contrary, too gay and bold through an excessive load of shakes
and other little graces, thus spoiling the balanced design of the composer.
Hence it is apparent that embellishments may both improve a piece
where it is necessary, and mar it if used inappropriately.

Those who wish to display good taste but do not possess it are the first to
fall into this error. Because of their lack of sensitivity they are unable to
deal with a simple melody. They are, so to speak, bored with noble
simplicity.

Those who would avoid such blunders should early accustom themselves
to singing and playing neither too simply nor too colourfully, always
mixing simplicity and brilliance. The little embellishments should be used
like seasoning at a meal; if the prevailing sentiment is taken as the
guiding principle, propriety will be maintained, and one passion will
never be transformed into another.

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