Without wishing to go too far down this path, modern performance practice does not really reflect the historical sources for trills and other ornamnents. The appogiatura was as long or longer than the main note, and they had 23 or so "basic" types of agreements, of which the main note trill was certainly one, and very few of the original agreements are heard today. We just do it differently today, even professional ensembles that specialise in French music--no names! As opposed to 30 years ago, the source material is now readily available--even online--and the situation is starting to change, which creates lots of nice opportunities. I do a class in airs de cour several times a year, and even in one week we barely get through half of the main ornamennts, much less the more unusual ones. A basic hurdle for those who do not play continuo and read figured bass is the issue of parallels. You can't play the trills unless you know whether they create parallels or not; the long appogiaturas change the basic harmonic strucure--as they should. The same hurdle is present in renaissance music as well, but the basic ornaments are not really used, so it isn't as much of a problem. You can see by surviving exercise books how they worked it out. dt
> > tablatures for d-minor tuning in the CNRS Bocquet volume are by a Mlle. > > Bocquet. Apparently, Monique Rollin did not have a single shred of > > evidence that this music was by one of the two lute-playing Mlles. > > Bocquet. The attribution was entirely speculative. One wishes it > > were so, but it is not. > >It was for want of any other suitable candidate. There's merely the name >Bocquet, mentioned without given name, in tablatures of the 2nd half of >the 17th century. Rollin says at the very beginning of her introduction >(op. cit., p. xxiii-xxvi) that one cannot be sure. So, it remains her >suggestion, and may I add, quite a convincing one IMO. The material she >offers, and her arguments, possibly qualify as a bit more than a shred. >Not of evidence, to be sure, but of plausibility. > > > See the review by Henry L. Schmidt in Notes, > > Vol. 29, No. 4 (June, 1973) pp. 784-786. > >I don't have access to that review (it's not available at our local >university library), unfortunately. Would you mind to give an abstract >or something to that effect? > >Mathias > > > Best wishes, > > Ron Andrico > > www.mignarda.com > > > Date: Tue, 27 Jan 2009 19:58:00 +0000 > > > To: lute@cs.dartmouth.edu > > > From: mathias.roe...@t-online.de > > > Subject: [LUTE] French trill? > > > > > > Dear Collected Wisdom, > > > > > > in several threads, Stewart, David Tayler, Jorge, et al nicely sorted > > > out this topic (Re: French Style, and Re: A very basic question), > > > concluding that a trill consists of appogiatura (coule), which is > > > necessary, trill (tremblement), which is desirable, and termination > > > (cadence) in special cases. > > > > > > However, the comma (curved line right to the letter) is without > > further > > > elaboration explained as simple trill in the CNRS edition of Bocquet > > > (Monique Rollin, Corpus des luthistes franc,ais, Oeuvres des Bocquet, > > > 1972, p. xxxiii), i. e. without appogiatura. And it makes sense with > > the > > > music by Mlle. Bocquet. > > > > > > Could it be that appogiatura is not as essential to the French trill > > as > > > it previously may have seemed? > > > -- > > > Mathias > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
