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Exercises in the lligher Positions.
Introituctory Remarks.

1. 0n the different Positions or Shifts. the chin, to prevent it from faliing when the hand shifts
1. fn stopping tones, the hand assumes different positions back into the lorver positions.
on the finger-board. The commonest positions is that in 7. In order to get a pure tone in atl positions the scales
which the hand is so near the nut that the first finger, on must he perseyeringly practised. It will then be noticed
stopping each open string, raises it by a semitone or a that the tones Iie the closer together, the higher the position is
rvhole tone. This is called the First Position, or First Shifü. in rvhich one is playing. The semitorles, particularly, must
In it the forefinger takes either the tones ab , a'? , h' v , and be stopped with the fingers as close together as possible; it
t", or a,, a', b', and f" * .
rnay eyen occur, in the highest positions, that a hnger rnust
2. We generally distinguish 7 position-o. Thus, by shifting first leave its place to r.,rake roorn for the next.
the hand up a little further towards the bridge, so that the B. Äs a rule, stay in a position as long as you ean.
forefuger raises the open shings by a minor or major Third, This seerns best merely for the sake of eonyenience in playhg,
rvhich was effected in the precedirg shifü by the second for a continual change of position has rrrany iIl results. To
finger, the hand is in the Second Position. In the Third this consideration the so-calletl extension of the finger is d,.re.
Position the first finger raises the open strings by u Foudh; Narnely', rvhen a single tone belonging to the next position
in the Fourth Position by a Fifth; in the Fifth Position by above or below occurs in a figure, the position is not to be
a Sixüh; in the Sixth by a SeventJr; and in the Seventh by changed on aecount of this one tone, but the player tries
arr Octave. to reach it, when it is higher, by extending the little finger,
3. \Me also have a Ilalf-shifü, lyr"S somewhat lower and when lo'lver, by drawing back the forefinger: the hand
than the First Position. In it the hand is shifted down so meanrvhile not budging from its former position. (Parb I[,
close to the nut, that the first finger raises the open string I{os. 2L, 24).
by only a semitone, the seconcl finger by a whole tone. It 9. E[o'wever, conyenience in plaftog must not be t]re sole
is almost indispensable for facilitating the execution of many guide in choosing a position. A trained artist often even
figures. (P*ü f, No. 160.) chooses a higher position, although he might have played
4, Our first exercises on the violin were undertaken in the sarne tones quite corlveniently in the ordinary position.
the first position. It is advisable to stay in this position, \Yhy ? He thereby aims ai obtaining special effects. The
and not advance into the higher ones, until its tones can Itirnltre of the tones differs on the different stringe. The
be stopped aecurately and with the utmost confi.dence. The tone b sounds quite differently.= on the A-string foorn the same
ransition to the higher positions will then offer no special tone on the D-string. One must also take the eha,raeter of
d;fficulüy. Practically arranged exercises will soon teach the the figure into consideraticn, if mi-tfsfts* in the choice of the
hand to feel what distance from the nut it must assume for position are to be avoiried.
each single position, But take care, when shifüing the hand.,
that all its members move on simultaneously, not allowing
some fingers to reach a higher position while other parts of 2. On the Graees or Ernbellishment§.
the hand have atüained it but partially. Ifnder the Graces we understand tones or groups of tones
5. \Mhen the higher position is once properly as-"umed, not essential to the rnelody, appearing as mere accessories or
keep to it strictly, taking care not to slip out of it imper- arbitrar;,' additions to rend,er the melotly more graceful, to
ceptibly. This end is reached by letting the first finger lie trim it and orrrament it. f'or bheir notation rve use either
on the string as rnuch a"s possible, noü lifting it until notes of smaller size, or certain signs intended to indicate
absolutely necessary. these note-q. The tones forrning an essential part of the
6. It is hard for small hands to reach the higher tones rnelody are called principal or main melody-notes; while the
in the higher positions. Therefore, from the fourth position acconlpany'ing grace-notes are called subordinate melody-notes.
onward, the thumb should be slightly drawn back on the neck, Coruespondingly, in the notation of such melodies, & distinction
and drawn back furbher and further for each followirg posibion, is made betrveen rnain and subordinate notes. For the purpose
so that at last the tip o-t the thumb barely touches the of classification the Graees may be arranged, according to the
shoulder of the neck The violin must be fi"rnly held with time at which they enter, under three heads:

G. H. 1118a
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TS
84

nie vierfachen yorschräge umzingeln entweder den


d) d) The Quactruple Unacc. Appoggietur&s either twine
around their main note (tg 20), of approach it in the
shaPe
Hauptton [s, z0) oder bem'egen sich zu ihm in diatonisc-her,
,,

(z,l-ä) , z.ß. of a diatonic, chromatic, or harmonic figure (21, 23 ); e. g.


chromatischer oder harmonischer Tonfotge

Executed:
Ausführurt

Mehrfache yorschläge, welche das Eigentümliche Una,ccentetl Appoggiaturas of several notes


haben, dass sie stufenweise zum Haupttone hinführen,wie leacling to their tnain note by steps, Iike those
die unter Nr. {.0,ll, 16, L7,2L und 22, führen geu'öhnlich at l{os. 10, 11, 16, 17, 21, and 22, ere generallY
den Namen Schleifer. termetl SIides.

B, B.
In the secontl class of graces the grace-notes fall
*
Bei der zweiten Klasse der Yerzierungen fallen die Yer-
zierungstöne in
die Zeit des Haupttones und nehmen diesem within the tirne of their main note, and subtract from it a
einen Teil seiner Geltun gszeit weg otler füllen dieselbe certain part of its value, or fill out the time of the ntain
abwechselnd mit ihm aus. Je nach ihrer Beschaffenheit note in alternation with it. Aecording to their character-
fü5ren diese Yerzierungen die l{amen: langer Vorschlag, istic form they are termed the Long Appoggiatura, Short
accentuierter kurzer Vorschlag, Praller, Doppelpraller, Accented Appnggiatura, Inverted iltordent, Double Inverted
llordent, Doppehnortlent, Doppelschlag, Triller' llordent, Ntordent, Ilouble Mordent, Turn, and Trill or Shake.

a) Der lange Yorschlag ist ein stufenrveise fort- a) The Long App.ggiatura is a, by - tone pro -

scSreitender Nebenton, durch welchen der Eintritt des melo- gressing stepwise, by which the entrance of the main
dischen Haupttones veruögert u'ird. t)er l{ebenton tritt hier I
rnetody tone is retartled. This bV - tone takes for
eine Zeit lang an die Stelte des Haupttones und nimmt a tirne the place of the main tone, subtracting frorn
diesem bald die Hälfte, baltl f seines wertes hinr','eg; die it in some cases one - half, in oilrers two thirds
Hätfte, r,trrenn die Hauptnote zweiteilig, g, u-enn sie drei- of its value; ll2 , $'hen the main note is bipartite,
teitig oder punktiert ist. Zu seiner schriftliehen f)arstellung
2b
, rvhen it is tripartite ( tlotted). For its notation
bedient man sich der kleineren Notenft)rm und z\r\xar bald in & srnall sized note is used, this srnall note repre-
der haiben, bald in der Drittelsgeltung der nachfolgenden senting either one - half or two - thirds of the value
Hauptnote, je nachdeur diese eine ucpunktierte oder punk- of its main note , ilccortling as the latter is not
tierte Note ist. z.B. dotted or dotted ; e. g.

Ausführungl Executed:

Ein derartiger Vorschlag ist dasselbe,was in der Theorie is called in the


This kind of appoggiatura is what ttchanging-note'.'
,,free
der Musik freiär Yorhalt, Hilfston oder Wechselton theory of musie a suspension]' or
genannt wird.. Besser wäre os, die Benennung ,,langer It would be better, entirely to do awa,y with the ap-
\brschlag,, und seine Bezeichnung durch eine kleine Note pellation ,,long appoggiatura" antl its notation &s a srnall
ga,nz aUfzugeben, dafür eine grosse Note zu set zerL und note, writing instead of the latter aL, large note corre-
zwilr in der Form, wek-rhe der Geltung des Tones entspricht. sponding in value to the tone wanted. There is no re&son
Es ist nicht einzusehen, warum einer kleinen Yiertelnote whateyer for giving a small quarter-note the same
eben so viel Zeit zukommen soll, als einer grossen halben length as a, large haif- note, and still greater length
oder noch mehr Zeit, als einer punhtirten halben l{ote than a large ctotted hatf - note. ( 26) . sueh a notation
(ZO). Eine solche Schreibu,eise entbehrt eines vernünftigen lacks a reasonable foundation, not seldom leads to
Grundes, firhrt nicht selten zu Verlvechslungen rnit dem confounding the long appoggiatura u'ith the short one,
kurzen Vorschlage und verdient daher, beseitigt zu werden. and consequently ought to be dcne away with'
b) Der &ccentuierte kurze Yorschlag hat mit dem b ) The Short Accented Appoggiatura bears a

einfachen accentlosen Yorschlage die grösste Aehnlichkeit. striking resemblance to the single unaccented one.

G.H. 1118q
ü8rrI, H'O
.raJar Än,{t utls uln} aq} o} pappts aIB su8ts uoqarzaq os'ltlrJattaq uaqcrazs8unzlasraÄ eqcsl+tsuroJr{c
rrlurrrorrlc ual{16 ' (*) snq} ua}?Iral. sI urn} t{cou uaqcl'az ruasorp puIS 'e uaqcleza8urg sapua3all ulo
a{t JoJ u81s aql 'a}ou uI€tu taloleq puocas I{crnp Srgcsloddo6 uap }auqclazoq u"ru 'uo11dnug 'epun4as
. -ro?u1'uo11dneg'apuruIasraqg :raputsulauts oslad[ repua3log
Alou urgtg tO.rro qu p uo c a S : Sltlo IIoJ Ss ,(11uaUa8
sl sauo+ Jo uoISS aCcns aqI 'na'oloq ltsql puB uI uoqlassap aug''[ alp qcls
uaqIal qcllut{g/I,\oo 'pJIrIe lIoIzIoA /r
aaoqts puooas aql Äq paqsllloqura sl alou ul'Btu ottl apurutosJalu1 pun -raq6 aulos t{cJnp uolldnuH lap rar{cla/r
r{rlr{,ra. ur orn8rg clpolaru v sI urnü- ot{ü (S i "i 'in31g aqcsrpolatu aura 1s1 Sugcsleddog rao 6
3 o{or}s ltscl}roÄ 'g'%'1fr1eze8uu ("t')
ts qllnil * utls aql Äq poltsclpul sI puts 'lueProtu III sauoqclr?sl{crnp }qcar{uos ula qclnp plpltr pun }uoploru
aloauls patuolord ts sT ?ueprol{ alqnoq aqJ, (l reqcuJula ralra8uglro^ ulo lsl +uepJouleildog rag (3
alpplur aql q8norql a{or}s ltscl}ro^ v Suueq dq sra; '(d'z '(^{") u sa{raqclr}sqcrnp }qcal}ilros uro uBIIr }z}as uaIpIoZ
'(^r") slY 'lapulqraA opun{asra}uo orllop{ oIp apun{aslaq0 rop $€}s
-JIp u8ts sll I elou uItsIu aql o1 pappts sI ä.0I0q puocas
ar{t aaoqts puocos aq} Jo ptsa}sul }tst{} '1urod oq} ur Ä1uo auolldnug urop l1ul qcIS urql Iaq ssup 'qcrnptsp ssolq rollürd
lueproru pauaAut 3r{} urory sraJJIp luepJ0H ot{J, (e ruoÄ qcIS laplaqcsralun JossTeg rapo luapJory rag (t
: (*) snr{} uo}}Iü\,\, sI }uaprol^l pa]ro^ul
elqnog aql roJ u8ts oI{ü '1a1dn1urnb ts tuturo; snq} uap u*r lzlnuaq sratlurdladdoo sap ,r.J,är'äo"1:TäI?Xä
,..,{} uaalll.}aq dllunba o}ou ultstr aq} Jo anlts^ eq} oulo lrruos uapllq pun elouldn€H rap lro/r\ uap uI ttcll
applp salou g aql ,ll Surlncaxa uI 'alou uF€III aql -lroqqclal8 oug;, JuBJ osorp qcIS uaga? Sunrqn;snY rap IaB
uo tutpua puts to.rroqu puocas aql qlpe acur\l Saleu 'pJrrl lrqa{a84anrnz uopdnug Irrnz rapaI..t pun uo}}IJt{csot
.Iallu t{clq/r,r talou uluur oq} uo tulpels
tsauol a^IJ -UoJ apun{asJaqg rrtz IEIrIraaz puoqe8sne euolldnug IIro^
Jo slsrsuoc +uepJoy[ paFoÄIII elqnoq aq,] (p trropur 'ueug;, JuIIJ src lqalsaq Jelltsrdloildoq rag (p
n;:[rffi, tsrn]€I3ffJ-il1-nop eg'rl{ ra}un tulqcsroÄ
aw urory rarrrp luapro*' -laddog urap uoÄ rollerd rap qcp laplaqrsralun qcmpoll
, (*) snql ualllr^,l 't[L'z ']r{als qcl1urtg
sr luaprol,1 po]JoAuI aq] roJ u8ts aqü 'raq]a8o] IJlltps]uoJrnx uolps]nap Jap uI u uaqElsl{cut {IIop soqcloll .
sraqlo ortr+ eql sB ourl? Jo q1Sual orutss oql saldnc 'uaqataT ula utsut lzlnuoq uaqctazJallsJd S[Y 'uaurltrtssnz
-ro auol prlt{} aq} Jo '1a1du1 ts Suturo;i snq} t*t,{} uaproq ualsJo uap sIB 'nz ?:.o7 IaI^ os uaqo ouoü uolprp urap
*Xs4,
ouasolrtetnz
uaa.!a,1aq Älyanba alou uItsIu aql Jo anlts^ aql apl^ lapuanl uBuI Japo 'a1orr;, oula oslts uapgq
-lp JaI{}Io Aaqü ' ule8e a}ou uItsIu aq} puts t aaoq alouldneg rap a1p q tlssuurqcralt zuwß Jopo.,l&luo t{cIS uagol{t
-? puocos aql t alou ulstu aql Sutaq asaql t sauol aug.[ I asarg 'uo11dntsH pun apun{asraqg uassop'uopdnrag
aerql Jo slslsuoc ?uaprory pelreaul aqü (c snu r{cllurgu 'uauo6 lorp snts }qa}saq Jelltsl6 reg (c
't 'o t elou e8r'u1 v 'g'z '.uallalsJtsp 1Jlrt{csua}oN rossor8 ur ut{I utstu a}11os
sts lno uolllJ,r,r,. oq plnoqs 1I uolsnJuoc ploÄts oü.l '{oot{ 'uaprauua^ nz ua8unlsqco,ttJa^ rrg'auqtst Jouot{crJ}sI{crnp
sil q8norq? a{or}s B I{}!,1tr a}ou -qtq8la IIBIUs B sts ua$Fnö' lFrr olouloilpv uaulapl rap 'lqcarug llur qcopaf 'sguyuoqe
qcls utsru luarpaq tunuqcrazot rosarp nZ 'lsl flts{ rop }qc$
'§lcauocut qFnoql'aspte{11 sl ]I 'setrI]]u13Eoddu pa]uecce
-rm aql ql1,rl. os€c aql lou sf qclqal' 'an1ua sl1 Jo uogpod e8ugcsro^ uasolluaccu urap loq sura.'lunulu8aarurq solJo6
Suqgtrl B 3I utorJ turlcuJlqus telou uItsIu sll Jo aIrrI+ aql souras 11aü uatuua8 uaulo uosarp pun ]11-B.J sauo]]dnug
ulqllne sII€J raurroJ aql lEI{t 'sl acuaraJJlp alos oq; sap VoZ o1p ur ra sstsp 'urrup ssolq ltoIl polt{csro}ufl rag
98
86

sichdiese,ryenn sie über dem Zeicben steh.n (&k), auf die if written above the sign (I l), to the second
Obersekunde, rnenn sie unter'demselben stehen (?,i') , auf above, and if written below the sisn (? to the
die Untersekunde, z,B. second below; e.g. 1, ),

S'elcher lJnter schied zeigt sich zwi schen dem D oppel s chlag What is the difference between the Turn at No.33
unter Nr.33 und dem dreif'achen \rorschlag unter Nr. 14? and the Triple Appoggiatura at No. 14?
Der Doppelsehlag wird nicht selten mit dem Haupttone The turn not infrequently begins on the main
selbst begonnenT so dass er aus fünf Tönenbesteht, die eine note, and then embraces five tones, which form
Quintolengruppe bilden. Ilm dies za bezeichnen, wird ge- a quintuplet. To indicate this, the rnain note is
wöhnlich die Hauptnote doppelt gesetzt und z\\z,r das erste ordinarily written trvi ce , the first time in the
IIal in Forrn eines kuraen Vorschlags (l+). Dass diese shape of a short appoggiatura (g+). It ' is self -
Bezeichnung eine ungeeignete ist, leuchtet von selbst ein. evi d ent , th at this notati on is an unsuitable one .
Besser wäre es vielleicht, derartige Doppelschläge dadurclr It might be better to indicate this kind of turn
nt bezeichnen, dass man dem Zeichen des Doppelsehlages by a short stroke next the front end of the turn-
vorn einen kurzen Querstrich anfügt (SS) , z.B. sign Fu), thus:

Zun'eilen soll der Doppelschlag dem Haupttone in der The turn is sometimes intended to follow the
Art nachfolgen, dass er eine Ueberleitung zum nachfolgen- main note in such a way as to form a, transition to
den Haupttone bildet. In solchem Falle rn ird das Doppel* the following main melody - note. In this case the
schlagszeichen der l{auptnote naehgesetzt , z.B. turn - sign is written after its main note, e. g.
36
§3

Auch andere, dem Doppelschlag ähnliche Figuren werden other figures, resembling the turn, are some -
der Hauptnote zuweilen angehängt, üo eine lleberleitung times appended to the main note to form a tran-
zur nachfolgenden Hauptnote zu bilden. Diese müssen aber sition to the next main melody - note. Such figures
dann in kleiner Notenschrift a,usgefährt werder. are to be written out in small notes ( compare
{s. II. Th. I{r. 8r.) Part II , I.[o 81.)
Ihre Ausführung fällt in den letzten Nloment der They &re played just before the value of the
Hauptnote. main note expires.
Das Doppelschlagszeichen steht oft mit Unrecht nach The turn - sign is often wrongly placed after
einer punktirten liote und giebt hier nicht selten zrt einer a, dotted note , u-hen it not infrequenily cau ses
falschen Ausführung Yeranlassung, z.B. errors of execution ; e. g.

Falsch ist hier die Ausführung unter b, obgleich sie der The execution at b is wrong, although exactly
Zeichensetzung völlig entspricht. Das Doppelschlagszeichen conforming to the sign &s written; for a turn- sign
nach einer punktirten l{ote soll nämlich nicht eine Lreberlei- after a dotted note is not intended to indicate a
tung ?,ar nächsten sichtlich dargestellten Hauptnote bilden, figure leading into the next main melody - note vi-
sondern zu einer Hauptirote, die im Punkte verborgen liegt. sibly written out, but to a melody-note lying con-
Daher ist die Ausftihrung unter c richtig . Zlt rr,ünschen cealed in the rlot. Consequently, the execution at c
wäre freilich, dass die Kornponisten w-eniger nachlässig in is correet. one coultl wish that composers were
der Notation wären und solche Figuren etwa in folgender less careless in regard to notatiotr, ' and would write
\\'eise darstellten: out such figures somewhat as follows:

(;.H Itlr,l
L,gtr,w'H 'e
-=_€€3xffip,=_-
ti? -\-.--- v
Zrl q "1" 7,V
x
'3 'a lsrnlsr88oddts paluacctsun q.} I/r\ 'g'2,'8u1qcsJo IuaqctsJuIa llut luaprotr{ ro(I (q
lueprory aq5 (q
trrZ
'3'a i'88odds 'ccuurl r{}!,n +uepJol{ pe+JeÄul aq.L (ts 'g'2, '8u1qasro^ meI{cBJuIo }Iur roll€rd rag (u
,puls uetuuorzroÄ oqalos 'uaII"J TSqIos sauo?ldnug
: oJB seaur8 qcns 'JIasU aloll uIstrr aql Jo
atull aql ulqly!\ Ä11rud 'a1ou ulslu rlaql Surpaaard aull sap XaZ alp uI sllo+ '+\aZ apuaqa8raqrorr auolldneH ulap
aqt utt[]tlt,(11rud 3u111u3 snry 'spul>{ EuroFaJoJ o.tf,} aI{} alp uI sllal oslu alp 'puIS lapllqa8 ualry ualsro uapraq rop
Sunzlasuaurnrusnz qcJnp oqaloir,'ua8ruefetp utsut ]qa]sJal
Jo uolluutquloc v ,(q pa{IIJoJ oIts qclqi\{ asoq} puu}s
- (
u a8u n JoI zJaA u a t Jar u r quroa) ua+z+os a8u a tuuttss nz Jalujl
rallun or\{. sactsIg(alrsoduro3 ) punoduro3 Japufi
rfi 'n
Ll
J
.F.A (.^^ ..^. 'F1'Z'yfrleZe8UB ^,r5-- tt0Jnp pIEq ',tb
{q Satul}atuos ,r?, ßq pa}Bctpul Sautl}
-auos sI 1I 'luaq -ralJ€ aql snutlu llIrl v Jo 'luap qalnp pleq pJr.r. rg 'llqal "8e1t1;srpuli rap ruap 'ra11trü ula
lour pauaAur petuolord ß sl e{tsqs +JoItS ot{ü (l ropo rallurd ralraFu€lraA u.ra lsr JeglJllltsJd rag (r
l') u v a
-t- -u (,
68
: snql poÄu1d aq ol
:uopro.,r\ ur{BJatsnu asral[ rapua5loJ ul rallIJü Jop
tq8no IIIII SuroSoJoJ ar{t /u.oIA rlar{} o} SurproccY 'uo[] -gaqalsro:r alssntu sspura8 lqclsuy rasarg 'ua$IlraJlr{c at nz
- rlcaxa Jo apout slql Su$g1lsnf r(lluatctJJns uI papaaecns pua8nua8 asro.r,rsBunrqgJsny asalp'ua8unta8 ?qclu t{cou
rarau oAtsr{ dr,.{t }ng 'a}ou ,(rutplsqns e sa sruadde raqu uauqr lsl sg 'luraqcs,ra uoluaqaN slu uolldneH rap
alou urutu ortl puu 'luaaau aq+ sa{€} ouo} slq} }tsq} os prra.rqe^&'lllgJnz luaccy Jap auoJr utasarp ssup os 'uauurtaq
'aroqe puocas aql uo ur8aq plnoqs III4 ot{} }€t{} 'ltassu apun{asJoqg .rop }Iur essntu Ja1IIJI Jap 'tvr\\z ualdner{art
su?rcrlaloaw ,(ueu 'anr6 '}uaJc? or{} sa{?} uaq} qclq^\ Ja{uarooqü oqcuul/f, '1ta1a8nz 1'uaccy rop uasarp pun uouuot
'a1ou ultstu aql uo sacuouttuoc IIIJ+ aI{} oInJ ß sY -oq auopdnug urap llur .rallrrü rap prl-t laFag rap uI
rrnrqnJ§n v
'3 'a t salou IIBITIS uI lno ualJ.I.ri!\ ualJo sl ltsaq - JaIJB 'g'z 'lalnapa8uu ualoN oural{ qcrnp
aq; 'poppu Ä11euolstscco sI (- ^^*.tt) aull Ä.te,t.t. € qclq/\t uallas lqclu prla SulqcsqctsN r8gge8ue
rag '(*q) lsl
ol 'rb sra$ol aW sI IIIrl aql roJ u8ts ot{J., '{lredord orurlueFuulqcg otrro ualrarrnz uauop '.tD uaqulsr{cng olp
ua11a8 srallrrJ., sap naqcraz s1y 'uapunrnzq€ Srroqa8 ta11rr;,
IIIrl ar{} Jo punor o} }utsatu sI pue 'olou uItstu aq} puts uap '4aanry Lrap lErt prrn uolldneg pun opun{asJo}uit sn?
Ä\olaq puocos aq} sacsrqtuo }tsoq-rouY SII{J '}tsaq - Je+
-Jv uB r[]uo. papmord 'a1nr ts sB '8uraq ut pt{B q13ua1 1qalsaqSelqJsq.lpN Jasatg'1sI uaqasJaA atulqasqctsN uraura
ratrear8 sll ur Ä1uo ralluI aqt urorJ Suua;grp 'luap l1ur la8ag .rap ur pun Jan?O ra.ra8uel uozr Ja ssep 'qcrnpzp
-roru palJa^ur pa8uolord ts lnq 3u1q1ou 'arog:etoql 'sl 1I ssolq uasarp uG rt)ls latllaqcs.ralnn pun 'ra11e;d JalJa*3uu1.rar
'a1q1ssod sts Alprdur puts ,(1uala sts a^oqu puocos aql ula sIts salopuE slr{cru }unos }sI rg '}Iosr{ca.1[qts llauqcs
r{}Lu solull. ItsJa^as sa}Eura}lts a]ou ultsut aq] qclq^\ lsqcrl8our sluutrtlaur apun{as"raqg Jauras }lur uopdnug Jap
ur arn8r; crpolaru e sl e{tsqs ro II}J,L ar{J, (q Joqcla-t\ ur 'rn8r6 ar[csrpo[atu auro ]s{ rellrJ;, Jaü ß{
L8
88

\[rodurch unterscheidet sich der ]tordent rnit Yorschlag \\'hat is the difference betu.een the mordent with
unter I{r. 41 von dem Doppelschlag unter l{r. 33? unacc. appogg. at l{o. 42, and the turn at }.To.33 ?
Doppelpraller und Doppelmordent können in g'leicher The double inverted mordent and double mordent
\['eise mit einem \rorschiag verbunden werden. may be sirnilarly united with an appoggiattlr&.
c) f)er Praller mit Doppehrorschlag, z.B. c) The Inverted Mordent with double unacc.appogg.; e.g.

il Der Mordent rnit Doppelvorschlag, z.B. d) The Mordent with double unacc. &ppogg.; e.g.
44 M

e) Der Praller mit tlreif'achem Yorschlug, z.R. e) ttre Inverted Mordent rvith triple unacc. appoSg.; e. g'.

f) Der Trilier mit einfachemYbrschlug', z.ß. f) ttre Trill with single unacc. appo gg.; e.g.
46 ür 46 tr

g) Der Triller mit Doppelvorschlag, z.B. Trill with double unacc. appogg.;
ür 4T'

viel über die wichtigsten in tler }Iusik vorkommen-


So This much on the rnost important Graces occurring
den Yerzierungerl. Es darf jedoch nicht uneruähnt bleiben, in music. \\'e must not, however) neglect to mention, that
dass in den musikalischen Lehrbüchernüber diesen Gegenstand the teachings of the instruction-books contain many con-
sehr viel \\ridersprechendes gelehrtrvird. Ilanche Theoretiker tradictions concerning this subject. Some theoreticians
scheinen den accentlosen \brschlag gar nicht zu kennen und appear to be totallv unacquainted with the unaccented
verlangetr, ctass jeder \brschlag ohne L'-nterschietl in tlie Zeit appoggiatura, and demand that every appoggiätura 'ivithout
des Haupttones falle. Ebenso herrschteine grosse Unsieherheit exception should fall within the time of the main note.
bezüglich des Prallers untl des llordent, Die Komponisten Great uncertainty tikewise obtains respecting the inverted
fehlen insonderheit darin, dass sie den Doppelvorsc'hlag mordent anti rnordent. One of th.e commonest mistakes of
unter Nr.6 ebenso bezeichnen, wie den Praller unter Nr. composers is, to mark the double appoggiatura at No.6 in
29, und den Doppelvorschlag unter Nr. 7 ebenso, wie tlen just the same \lray as the inverted mordent at No. 29, and
Mordent unter I{r. 3{.. Eine gleiehe Unbestinuntheit zeigt the double appoggiatura at No.7 like the mordent at No.3l.
sich auch in der Bezeichnung des dreifachen Yorschlags Similar uncertainty is also apparent in the notation of the
unter I{r. 14, der nicht selten vr.ie de,r Doppelsclllag unter triple appoggiatura at l{o.14, which is not seldom mar-
Nr. 33 bezeichnet wird. Durch solche unsic'here schrnankende ked like the turn at lio. 33. Such an uncertain and fluctu -
Bezeichnung verliert der Ausführende allen llalt, und es ating notation leaves the player u'ithout any secure foot-
u'äre daher irn Interesse der Kunst, \I,-enn uran in Bezeich- ing, and it would therefore be in the interests of art to
nung und ^tusfährung der \''erzierungen endlich eintnal ztt attempt, onee for all, to reach unanimity in regard to
einer Einrnütigkeit zu gelangen suchte. the notation and execution of the graces.

____4€3x@=___-

G. H. 1u8{
i SIII 'H .$
'olBJapoW'+Z
'uOlllsod pu0Jas'T 'a8r?T allo L\Z 'f
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'asJnoc rl]Jnod 'snsJnc Jouol^
'uIIoI^ eq} roJ por{?aw lBol}ctsrd ' oFrr{cs -uHota or{cslpttsJd
6s
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Altegretto.

M,

13. Moderato.

7*4.» ri oea;\'
i 8I,IT 'H 'O
a
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lj 8-rz t>;
3, -Y ------7rz lj
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Altegretto. 4

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1,rr B 4z
i, 8IItr, 'H 'E
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§-r

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d*tü +*t
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tv d2 *v* ?2'.
lq
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+
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ftl V

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ry üYw1 l--t . ü . v-J .2. ,) 'v-/
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26.Andante. ':-;?.^-X"'

27.Ällegrettq.. Hh.
ä -
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a
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L8
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