œ w œ œ j œ ? b bc œ œ œ w J Ÿ c m œ œ œ w w Embellishment of Phrygian Cadences

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1 Embellishment of Phrygian Caenes A Phrygian aene is a type of imperfet aene, ening on the ominant hor (V). It an our at the half-ay point, but most often ours at the lose of a movement, after a full aene, as a kin of after thought or oa. As it is unfinishe, it naturally leas to the folloing movement an it is important to maintain that link in performane. The bass line approahes the final ominant hor from a semi-tone above, figure. Phrygian aenes our most often in minor key piees, as this major th (VI )hor is then espeially beautiful. The th is often suspene over from the previous beat in the meloi part. Linger on this th to savour its beauty before aing a short embellishment. The th resolves to a th an an upper-note aential trill shoul be ae here, even if not notate by the omposer. Quantz (Versuh, 152) The half aene, in hih the upper part is suspene against the bass an resolve through the sixth to the otave usually appears in the mile or at the en of a slo piee in a minor key. It as use a nauseam in former times, partiularly in the hurh style, an has therefore almost gone out of fashion. Yet it an be use ith goo effet, if it is introue sparingly an in the right plaes.? b b j essential trill at aene may be notate ith any of these signs: m or not notate at all (assume) trill starts on the upper note (Bb)? b b j A breathe here to separate the en of the paragraph an the oa reseno over the bar line to enrih the beautiful th hor trill starts on the upper note (D) iminueno as the issonane resolves J tu i - - ru ri (V) V D I g perfet aene in G minor (the piee oul en here). vb VI IVb Eb Phrygian aene (type of imperfet aene) this is effetively a oa leaing to the next movement V D

2 The Eb th hor may be embellishe ith other notes of the hor: Eb, G, Bb, D Eb OK but same note as bass so best if not too long J j J bare 4th beteen D an G as to the sa Affekt J j J rising an falling th a even more pathos J j J esening to the loer Bb is simpler j J J &b b j? b b

3 These notes may be tongue or slurre, beause they are harmony notes - it is your hoie. j &b b j J J j J j J 3 3 j? b b Experiment ith ifferent rhythms. j J J j J J j J j J j? b b

4 j J j J j J j J j J &b b j? b b

5 The interval of a 3r beteen the notes of the th hor may be fille in ith passing notes. Passing notes must alays be slurre, either from or ono a harmony note (not tongue/boe separately). grae note may be playe on the beat or before the beat (Frenh style) j j J j J j J j J j J j J Ω j J 3 j J j j j J j J j J j? b b

6 In a slo movement, a sale ontaining passing notes artiulate separately oul soun strange. NOT separate! Ω Ω Ω Ω Ω j J j? b b

7 Quantz (Versuh, 152) the embellishments that may be use have a very small ompass It is simply a matter of hether you ish the embellishment to be long or short. &b b &b b longest aenza meium-length aenza slightly longer aenza shortest aenza j j j Quantz (Versuh, 152) Ch.XV.33 In to parts, this half aene is frequently use in trios. Its ornaments onsist of the very same intervals use in one for a single part. It is simply to be note that the part forming the suspension of the seventh must make the statement. The other part must rein on the thir [of the hor] until the first has omplete its figure an strikes the shake on the sixth. The seon part an then imitate at the loer fifth the figure soune by the first. &b b j j U j Ó ẇ j j Ó If hoever, the seventh lies in the seon part, then the seon must make the statement, an the first imitate it at the fourth above. If in [the above example] the seon part is transpose up an otave, an turne into the first, you ill have an example. j U &b b j j j j Ó Ó Ó

8 ? b b Blavet Flute Sonata op.3 no ? b b Hanel Violin Sonata H 31 (original key A major) U U Hanel Keyboar Sonata Larghetto Aagio? b b n J J.S. Bah harpsihor onerto BWV 105 (135-40) (original key: F minor)..? b b J

9 Italian Style Phrygian aene embellishments are typially forme of long, slurre melismas. The ontour is base on notes of the th hor. These examples, from Corelli s violin sonatas, op.5, are transpose into G minor for easy omparison.