❓So a common question I get is asking about rules in historical performance. What are the rules for playing *fill in the blank*? I try to answer by saying: there are guidelines, and some are even pretty "set", but what's also necessary is to look at the context, listen, and make choices based on this process.
I thought to use a recent question I got as an example. The question concerns whether to place some of the ornaments in Hotteterre's Suite in D major on the beat or not. Let's look at the Sarabande "la "d'Armagnac". The circled ornament is a double port de voix, which occurs throughout the movement. But even if you didn't know anything about this ornament, there are usually other indications in the music which can help us to determine whether to play it on or before the beat. So in a sarabande, it makes sense to play it on the beat because of that characteristic sarabande emphasis on the second beat. Compare playing it both ON and BEFORE the beat, and you'll hear that playing before the beat won't give that clear rhythmic, LIFTING gesture. Also, what speaks for playing on the beat is that the ornament creates a slight dissonance with the C# in the bass, which adds harmonic richness and further enhances that second beat. A tierce de coulée (falling third) occurs, on the other hand, often at the ends of musical gestures, or kind of like "on the way to something". The general affect is also soft, flowing, maybe sighing, and so is usually played before the beat. Hotteterre's Menuet illustrates these concepts perfectly, and especially the string of tierce de coulées in the second line sets up an effective contrast against the rhythmically more obvious (and usual) opening phrase. In this second line, the thirds fall gracefully from the half note, avoiding a strong down beat and thus creating a metric displacement. Together with the bass line, we have for a short while here a very interesting juxtaposition of rhythmic details which makes this Menuet special! If you'd play the tierce de coulées here on the beat, the dance would lose these special qualities, become heavy, and go against the natural musical intentions. Now in the Prelude of this suite, we have something that sort of looks like it could be a tierce de coulée (see asterisk). What are some other clues in the music that can help us decide whether to play it on or before the beat? In this particular moment of the music, there's harmonic tension happening with that 7th chord underneath, and also since it's a Lentement in 2, placing the ornament on the beat helps contribute to the affect and metric structure. It should sound deliberate, a bit "heavy", and playing before the beat would then reduce the poignancy of the phrase. The same idea goes for the ornament after that. And see further in the next line, a tierce de coulée is appropriate after the G# as it brings a little closure before the leap up to the A, and it's also metrically the weakest part of the bar and naturally wants to fall from the preceding trill. Thus, better before the beat. So by looking at the context of the ornament we can also take some clues already about the expression, which would then help us to decide how we want to execute it. There's a musical meaning, rather than simply being a type of ornamentation with automatic "rules" on how it should be played.
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Here's an example of how I use ornamentation as a way to expand and increase intensity in expression.
This is from Johann Tromlitz's Partita II in G major, first movement. The clip shows the sequence going up towards the end. I added a "slide" (0:08) going up to the high C instead of approaching it directly(as written), since it gives us a chance to let our flute sound bloom, making the suspense afterwards even more effective. Then at 0:15, I added a turn going into the final trill (and always good to do trill with termination here), which gives us again a chance to spread our sound and do an effective crescendo through the notes. This creates a flourish effect and is a great way to end the movement, plus it adds style, elegance, and liveliness to the music. So I encourage you to find these kinds of passages and experiment to enhance expression through ornamentation. It makes music so much more fun and you won't want to go back! Studying the music of Couperin is a great way to understand baroque ornamentation, as he was so meticulous in indicating them. Most importantly, we can see how ornamentation also conveys affect - they give us clues about the music and thus has an influence on our interpretation. Let me get into this opening of Couperin's Allemande Fuguée, which is one of the great gems in our French baroque repertoire! I've indicated the segments of this phrase with the colored brackets above - the first in red, followed by another which is made up of two smaller components (blue brackets). The first segment (in red) begins with a series of mordents and ends with a little trill. Couperin didn't choose these ornaments just randomly, but rather he wanted to convey specific affects which would be best expressed with these ornaments. The leaps in the beginning ask for a more exuberant character, and the brilliance of the mordent does just that. Let your fingers spring away from the flute on each mordent and feel the energy behind the movement. It should feel lively, airy, and effortless, using little air to play and always lifting/tapering each time. Overall, we should also do a subtle diminuendo as we approach the little trill on the C#. Why a trill now instead of continuing with a mordent? Because it's the end of the sequence and the trill brings it to a nice gentle closure before something new starts afterwards. Trills often demonstrate flattery and are more suitable for softer expressions compared to mordents. Mordents are great for starting, highlighting; trills are great for ending, fading. Try replacing the last trill with a mordent and you'll hear the difference. (pretty mundane and not the perfect Couperin we know!) This opening is actually a little tricky for us flutists, especially as we approach the last mordent and trill. The D-C# combination (both as a trill and a mordent) involves moving two fingers, one of which is the 4th finger which is the weakest finger of all. It takes a bit of practice to make sure they sound effortless (especially in the trill). Again, it helps to use just the right amount of air and not more, try to see how light you can get it to sound and be sure to taper your air through the trill. Where the blue bracket starts is where the affect changes - we no longer have those leaps but rather conjunct motion. This is again a compositional technique for showing something more elegant. Notice also the slur marks in this passage, which we didn't have before and thus also refers to a softer expression. Leaps have the tendency to sound "rude" in the French baroque, unless the composer had specific intentions. And so, Couperin resorts only to flattering trills! The slurs help us to just let the notes roll off gently into the melody (how perfect is that right?!) Again, taper and lighten up your sound through those passages, it is the key to sounding really gayement, which in the French baroque style is playful, merry, but not too extrovert. Now here's something really fun - depending on how we play an ornament, they can still convey a variety of nuances. The first trill under the blue bracket (3rd beat of m. 1) can be seen as a slight variation of the opening motif due to the same pickup with the note A. It's also the start, the higher part of the phrase, and so we could play this trill more energetically. Make sure you separate both the pickup A and the A as an appoggiatura with the tongue (articulation silence, indicated by the 't). I'd play a short appoggiatura here for a more lively trill, because then to end the phrase, the second trill could be less lively and receive a slightly longer appoggiatura to close. Feel the flattery and sweetness in this. I'd also play this trill overall softer compared to the first one, thus setting up a nice contrast between an opening and closing gesture in this phrase. Shine a bit of light in the opening and tuck the sound gently in for the closure. By observing how to convey affect through ornamentation, this will help us to ornament on our own more effectively. For example in the following phrase, it would be nice to add a turn (tour de chant) which will help propel us into the next trill. It's the perfect compliment after what's again a somewhat "bold" gesture of a leap and mordent. It's a small detail which should not draw attention to itself but contributes greatly in the whole context. The result is then something that's flowing, elegant, and stylish of the French baroque style. Once we grasp these concepts, they increase our fun and enjoyment of this music➡️ the music then comes to life➡️win win! Watch the video below for some live demonstrations of how to practice this passage. In preparing for my upcoming lectures and workshops, I’ve been thinking a lot about ornamentation in baroque music and most importantly, the affect of ornamentation. What often goes missing in the general conversation is what to do when. Ornaments definitely contribute to an expression and should not be applied arbitrarily. And then depending on how you play an ornament, you can achieve so many varied nuances which can truly enhance the overall enjoyment of a piece, for the audience as well as for us performers.
Take a mordent for example, which can usually be characterized as a joyous, brilliant gesture. To play a mordent (pincé) instead of where a port de voix (appoggiatura) should go could change the affect completely and go against the music. A case in point is the lovely "Le Rossignol en amour" by François Couperin, who indicated that this piece can be played on the flute(originally for harpsichord), if played well. You see in the opening gesture the first mordent (1), but Couperin continues the phrase subsequently with adding a port de voix and a mordent (2). Couperin didn't write this small differentiation based on his whims, but it was a deliberate choice in this stepwise part of the melody, because it's the appropriate place to introduce the charming sentiment which prevails the piece. Try swapping out the port de voix and just simply play the mordent at (2). You'll find that all of a sudden the music has a very different character. Perhaps proud, or stately, but certainly not tender and endearing, which is what we want to experience in this piece. Try continuing even further with only mordents - at (3) it feels ungraceful and would definitely not belong there. Not all baroque composers wrote down the little graces so carefully and consistently as Couperin did. So by observing and understanding which ornaments go where and why, we can then also learn how to ornament on our own, more in style and according to the taste of the music! |
ABOUT THE BLOG:I got inspired to document my own observations in flute-playing and music-making. Also, I thought it's important to pass on the teachings of the great Wilbert Hazelzet, as well as many other mentors who have influenced my artistic visions one way or the other. Enjoy this potpourri of tips, inspirations, and musings. TOPICS:
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