THE TRILL, APPOGGIATURA, MORDENT & GRACE NOTE

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1 Ÿ THE TRILL, APPOGGIATURA, MORDENT GRACE NOTE The Trill is an ornament consisting of the rapid alteration of to adacent notes: the main note and the note either a half or hole step above or belo it. It is designated above the note to be trilled either by a or. Ÿ m ṁ Trill ritten out (ho it's sung) Trill ritten out (ho it's sung) Starting the trill on the given note is typical Starting the on the note above the given of music in later periods is most common. note as typical of trills in the Baroque period. Trills often start slo and become more rapid. This depends on the singer's preference and on the song being sung. The number of alterations beteen notes changes depending on the length of the note and the tempo of the song. There are additional trills that vary according to musical period and composer. Only the to most common trills are covered in this level. The Appoggiatura: This is an accented, non-harmonic note that resolves stepise to a harmonic note, often ritten in small type.. Appoggiatura ritten out Appoggiatura ritten out (ho it's sung) (ho it's sung) The Appoggiatura alays gets its full value, and this value is subtracted from the note of resolution. The Mordent: This is an ornament here the main note and the note belo are sung quickly in succession before returning to the main note. M. Mordent ritten out (ho it's sung) The Grace Note: This is an unaccented ornament consisting of a short note immediately before a longer-lasting note. Grace notes are ritten in small type ith a slash through the stem.". Grace Note ritten out (ho it's sung) 1

2 !..... MODULATION Modulation is the act or process of changing from one key (tonic, or tonal center) to another. This may or may not be accompanied by a change in key signature. Modulations create form in many pieces and add texture. As a singer, it is important to kno if a piece modulates so you kno here "" is. You can tell a piece has modulated based on its sound and the structure of the chords. In most da capo arias, the B section (nd section) usually modulates to the minor key. Then the repeat of the A section (1st section) modulates back to the Maor key. In Pop music today, a piece usually modulates to the minor key during the "bridge" in the song, then modulates back to the Maor key at the end. In art songs from the Romantic period of music, modulation from one key to another often occurs ithin a piece to indicate a change of mood or character. Here are to examples of modulation. "Quella Barbara Catena"-Ciampi (A da capo (ABA) aria from the Baroque period of music.) A Maor (end of A section).. F.. p.. Quel - la ri - a mor -tal _ fe - ri - ta che mi f minor (beginning of B section).... "Widmung"-Schumann (An art song from the Romantic period of music.) n. n n n rit. b b b b b b b b.. p b b b b. Ó mich_ vor mir ver - klärt,_ du hebst mich lie - - bend ü - ber mich, mein A Maor modulating to Ab Maor. 1

3 This musical example has minor chord progressions and a Deceptive Cadence. b b b b b b b b b b Me n Œ Si n V 7 n Si VI Deceptive Cadence Ó This musical example has Maor chord progressions and an Authentic Cadence. V 7 Authentic Cadence I This musical example has minor chord progressions and a Half Cadence. b b b b b b Me Œ n i V 7 Half Cadence This musical example has Maor chord progressions and a Plagal Cadence. Œ IV I Plagal Cadence 5

4 . For the folloing melodies, name the key (for example: C Ma., c min.) rite the note names and solfege underneath the notes. Pay attention to the key signatures (Maor or minor.) Try singing the examples hen you are done! bb Œ Key: Note Names: fege: Key: b b b b b b Key: n n Œ. Key: b b b b b b. Key: _ Note Names: fege: _ Note Names: fege: _ Note Names: fege: _ n Œ Œ Note Names: fege: Œ Key: _ Note Names: fege: _

5 MUSICAL TERMS A crucial part of understanding music is being able to recognize and define musical terms. Belo is a list of terms covered in this level ith some additional ones. ad libitum ( ad lib.) - (t.) a performer may improvise, omit a part, or vary the tempo agitato - agitated, excited allargando - broader and sloer animato - animated, energetic augmented interval - a maor or perfect interval raised by a half step canción - (Sp.) song cantata - a multi-movement vocal ork for concert or church performance by chorus and/or soloists and an instrumental ensemble colla voce - for vocal accompanists, moving ith the voice diminished interval - a minor or perfect interval loered by a half step leggiero - lightly modulation - the act or process of changing from one key (tonic, or tonal center) to another. This may or may not be accompanied by a change in key signature. motif - the shortest possible musical idea, sometimes consisting of only to notes muy - (Sp.) very non troppo - not too much irregular meters - 0th century music employs changing meter from one metric unit to another perfect interval - an unaltered octave, fifth, or fourth ritenuto - immediately sloer scherzando - playful, lighthearted subito - suddenly tessitura - the average vocal range of a piece tranquillo - calm 5 trill - an ornament consisting of the rapid alteration of to adacent notes: the main note and Ÿ the note m either a half or hole step above it. It is designated above the note to be trilled by either: or

Cadences. There are four different types of harmonic cadences: perfect (or authentic) imperfect (or half), plagal and interrupted (or deceptive).

Cadences. There are four different types of harmonic cadences: perfect (or authentic) imperfect (or half), plagal and interrupted (or deceptive). Cadences Cadences generally represent a pause in rhythmic, melodic or harmonic movement. They often combine a momentary standstill of rhythmic motion ith the use of common to-chord patterns to finish a