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(from Boismortier's Op. 35, left: Bourée en Rondeau in B minor, right: Rondeau "Les Charites" in E minor
One ornamentation question I get asked every now and then is about these two symbols in Boismortier's music: the plus (+) and the squiggle. They both indicate a trill, but why the two different symbols? I used to answer that pluses in Boismortier tend to be found on longer note values, while squiggles on shorter ones. Whether the note value is considered as long or short is relative to the meter of the music. This generally indicates that pluses are for longer trills and squiggles are for shorter, quicker trills. However, this passage from his B minor Suite Op. 35 struck a bell for me and I have now a more in-depth answer. You see both signs on the same half-note value. What does Boismortier want to tell us in this case then?? After some thought, I'd define the difference more clearly as having to do with the IMPORTANCE of the trill and the CHARACTER of the appoggiatura. In both cases we'd ALWAYS start from the note above. As far as I've seen, pluses are found at places where there's a harmonic significance, perhaps a cadence or a dissonance. Places where Boismortier probably wants us to do a more PRONOUNCED appoggiatura. Slightly longer, CLEARLY AUDIBLE, LEANING into the dissonance and perhaps yearning or sighing in expression. Squiggles are thus more DECORATIVE and while they can still carry meaning in terms of affect and expression, the appoggiatura should be shorter, sometimes to the point that it's hardly audible depending on speed and the notational value. In the case of this B minor Bourée (above left), the (+) is thus found on the cadential trill (more harmonic significance), and the squiggle is on the downbeat before. Boismortier wants us to differentiate these two trills so that we don't end up playing them the same way. Both are ornamental but carry different meanings and have separate flavors. Because baroque music is all about CONTRASTS, DETAILS, LIGHT AND SHADOW. Balance something light with something more weighted, have something more passing followed by something more emphasized. One is more electrifying and then it stretches out a bit. Try it this way and then compare it with playing both half notes with equal-sounding trills - which one sounds more interesting? Which one glues your feet to the ground as opposed to taking a joyful leap? Take another look at the Rondeau "Les Charites" (above right). We again see the cadential trill with a plus, and the squiggle at the resolution (on a quarter, which is a long-ish note value in 3/8). Boismortier wants us to be sure to do a light trill (shorter appoggiatura, less pronounced) on the resolution, which makes sense because it's the end of a phrase and a resolution should have a sense of relief. And while it's entirely possible to do a more obvious appoggiatura on a resolution, that would generally indicate a different affect, perhaps more pathos, something more serious. That would not fit so well here as, the name indicates, this is a movement about charm and grace. So go for a gentle, light trill, and not too long (4 notes suffice!) and make sure it's in absolute diminuendo. It should almost sound like simply some kind of wavering in the air. So I actually no longer think that these two symbols have so much to do with the LENGTH of the note/of the trill, but very much to do with how we approach the APPOGGIATURA, which will give different meanings to the ornament. The length of the trill itself will be dictated in part by the note value and the desired affect, but as these examples demonstrated, that doesn't seem to be the main reason for having these different signs. Take a look at other pieces of Boismortier, test my concepts and let me know what you find! This is a shout-out to my friend Sophie.💜
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 An anticipation anticipates the next note. At a cadence, no matter how much ritardando occurs, the anticipation must have the intention of MOVING TOWARDS the next note. They belong together. You can do a great ritardando, stretch out on the trill and really elongate the anticipation, but the resolution must follow organically afterwards and not feel separated from the anticipation.
Use the tongue strokes T-D or T-R, ease up on the air (diminuendo), and think the word "A-MOUR" - which is 1 word with 2 syllables, just like anticipation + resolution is ONE entity with TWO parts. A suggestion from Bart Kuijken - you may also think of the phrase "merci beaucoup" - "merci" is the trill, and "beaucoup" is the anticipation plus resolution. You'd also never separate the syllables "beau....coup", but rather the word falls and follows naturally after "merci"!  I got a question regarding whether I can give any tips regarding awkward trills and trill fingerings. My thoughts:
- If you look up some baroque flute trill fingerings and wonder why some of them sound wide, it's because they were meant to be that way. They sound out of tune to our present-day ears, but for the players and listeners back then, this was an expressive aesthetic. A classic example is the F#-E trill, where you finger F# (xxx xoo o) and then trill with the right index finger and with the key closed (so finger off): xxx Txo x - There are a few more trills that are meant to be played this way. Keep in mind that things were a bit less standardized than today - musical tastes change and there were always some varied opinions about whether the key should be on or off for a fingering. Coming from the modern flute, I do tend to put my finger on the key as long as it doesn't really affect intonation greatly. E (1st and 2nd octave) is no key for me, but I do use the key for notes like G or A for better balance between the hands. - The comprehensive book by Margaret Neuhaus "The Baroque Flute Fingering Book" is unfortunately no longer in print. This is an amazing side-by-side compilation of 18th-century fingering and trill charts. You may try to find it used, or there are various websites or resources out there that give similar information. - Always shape trills, the diminuendo or backing off with the air is especially important. This will also take some edge off of the wide trills. Whether in a brilliant or sweet passage, trills should always sound effortless and letting go of the air is what will make the biggest difference. Don't feel like you need to fill the entire note value with as many notes as you can possibly squeeze in. Often in practice, two "twiddles" are enough. If it's a trill over a relatively long note, it's always good to incorporate a so-called messa di voce, which is a swelling and diminuendo in sound. You may also want to start the trill slower and then accelerate. With some practice in this way, trills will sound more refined, even the wide ones. They should be light, ornamental, but nevertheless highly expressive. In my last workshop "24 Tips & Techniques for Playing Couperin's Second Concert Royaux", I talked about where are good passages to do the flattement / finger vibrato. Most players may know that flattements can be done on long(-ish) notes. However, I specifically suggest looking out for places where the melody moves downward to further enhance a kind of tender expression. Here's my latest video about this subject which includes clips from the workshop:
I recorded the air "C'est bien a tort" by Bacilly as demonstration material for a learner of mine. In the recording, I caught myself in a passage which I think would be interesting to talk about. And in case you're wondering, the upper line is in soprano clef, which is like reading G clef a third lower. So where the red asterisk is, we have a trill on a C (also marked with x), and the note before the trill is a D. We have here a situation where the note before a trill is the same as the appoggiatura of the trill. This often creates a bit of confusion and we easily lose clarity between the notes (in this case two D's). The goal is to still have a distinction between these notes, however subtle that distinction should be. The trill falls on the "ssens" of the word "ressens" and we'd want to reflect that fine nuance of the "ss". We can achieve this by gently ending the sound of the first D with the tongue, and then making sure to start the trill with the appoggiatura. Bring the tongue back up to the roof of the mouth, right about behind the front teeth. This will make the tongue end the first D and also be ready to start the appoggiatura D. You should feel a slight resistance on the tip of the tongue right before you start the next note. This refined coordination also needs a fraction of time to make sure the D appoggiatura really sounds and doesn't get swallowed, otherwise the trill would then become like a mordent or something. That's what happened in my initial recording, and when you're familiar with the style and expression, it sounds a bit out of place. I want to point out that this is not just a dogmatic following of the principle that we should start trills on the upper note, but there are musical reasons for doing so. With a quick and light appoggiatura, the trill here should sound like a slight tremble in the voice, or simply a flutter in the air. The two D's also make the line very smooth, which makes sense here for the expression. In addition, immediately retract the breath after the appoggiatura to further enhance that wistful affect. Compare if you'd play something like C-D-C on the C as the ornament (so omitting the appoggiatura) - I find it takes away from the "leaning" effect of the appoggiatura, which then also reduces the tender, yearnful expression here. Don't forget that, beyond vocal airs, we can make the same observations in numerous instrumental music. In fact, French flutists were first playing these airs de cour before specific flute music came into existence, as well as the common ideal for any instrumentalist was the human voice. So certainly in lyrical pieces, their playing would reflect a strong vocal tradition. The expression of ornamentation is also one of the hallmarks of baroque music. The very fine details convey expression and thus require a specific way of execution. There are usually a good number of clues in the music to help us decide on our interpretation, and what we know as "rules" have certainly musical reasons, not just theoretical ones. Below is my demonstration video: |
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. ✨CONTRIBUTE!✨Yes I love the writing that I do! If you love them as well, how about consider showing your appreciation with a personal contribution? 
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