BAROQUE MUSIC, THE APPOGGIATURA
In the world of Baroque music, there are many types of appoggiaturas, as well as rules that apply to each of them. When interpreting music from this period, if we want to be rigorous, it is logical to have some prior knowledge of harmony, because the relationship between harmony and the correct way to interpret the appoggiaturas is direct. On the other hand, if this knowledge has already been acquired, it is advisable that, before approaching the interpretation of a Baroque score, we invest some time in understanding the rules that relate each appoggiatura to its correct execution, because it depends on it that our interpretation is adapted to the style of the period.
Appoggiaturas were used by composers of the time to emphasize the dissonances in each melody. In order to make these melodies pleasant and elegant (what was then called “gallant”), Baroque composers were aware that they had to add more consonant harmonies than dissonant ones. And in this context, they also knew that what the appoggiatura brought to their compositions was excitement and variety, a kind of punctual alarm for the listener. And I say timely, because for Baroque musicians, the excess of consonant sounds was not pleasing; they said it tired the listener.
According to Johann Joachim Quantz in his Method for Playing the Traverse Flute, there are two types of appoggiatura: notes to be played on the strong beats (what were then called “good notes”) and notes to be played on the weak beats (“bad notes”), or passing notes.
● Fig. 1: Method of playing the traverso by Johann Joachim Quantz (1697-1773). Source: http://www.jobterhaar.nl/QuantzOnPayingTheFluteEspanol.pdf
If the appoggiatura is intended to ornament a dotted note, it is divided into three equal parts, two of which are covered by the appoggiatura and one by the real note (the one that accompanies the appoggiatura), or in other words, the duration of the dotted note.
● Fig. 2: Method of playing the traverso by Johann Joachim Quantz (1697-1773). Source: http://www.jobterhaar.nl/QuantzOnPayingTheFluteEspanol.pdf
The same is not true for the notes before a pause. It is interesting to see how the values are stretched (see Fig. 3). The rule is that in the case of rests after decorated notes with appoggiaturas, the value of the real note remains the same, while that of the appoggiatura replaces the value of the rest.
Fig. 3: Method of playing the traverso by Johann Joachim Quantz (1697-1773). Source: http://www.jobterhaar.nl/QuantzOnPayingTheFluteEspanol.pdf
In addition to these two examples, there are other shorter ornaments, such as the mordent (or pincé) and the grupet (or doublé), which were used by French Baroque composers, as they said, to give the musical work a more joyful or lively character.
Finally, the development of good taste in ornamentation is something that must be taken into account when interpreting appoggiaturas. This means that a Baroque performer assumed that, apart from the rules implicit in each ornament, he was free to decorate that ornament as he saw fit. In this sense, in Italian Baroque music, passing notes were used, as well as scales connecting intervals (or tiratas) and trills, as long as the musician respected the main melody and avoided saturating the melodies with unnecessary ornamentation. This is explained with great clarity by Johann Joachim Quantz (1697-1773) in his treatise for the flute:
“A majestic and lively melody can become low and simple through the misuse of appoggiaturas; and a sad and tender melody can become cheerful and bold through the excessive use of trills and an overabundance of other ornaments: in both cases, the composer’s ideas are distorted. Just as ornaments can improve a piece when used properly, they can also worsen it when used improperly.”
Frequently Asked Questions
-
An appoggiatura is a musical ornament found commonly in baroque and classical music. It consists of a grace note that is played before the principal note, creating a melodic embellishment. The word “appoggiatura” comes from the Italian term “appoggiare”, which means “to lean”, as the appoggiatura leans on the main note.
-
Both appoggiatura and acciaccatura are types of grace notes used for ornamentation in music. The main difference between the two is in their duration and execution. An appoggiatura takes a small portion of the time value from the principal note and is generally longer, while an acciaccatura is a very brief, ornamental note played quickly and almost simultaneously with the principal note.
-
Both appoggiatura and acciaccatura are types of grace notes used for ornamentation in music. The main difference between the two is in their duration and execution. An appoggiatura takes a small portion of the time value from the principal note and is generally longer, while an acciaccatura is a very brief, ornamental note played quickly and almost simultaneously with the principal note.
-
Appoggiaturas are notated as small notes, typically with a diagonal line through the note stem, situated before the principal note they are ornamenting. They can appear higher or lower than the main note, and their pitch is generally resolved in the main note, creating a sense of dissonance to consonance in the melody.
-
The primary purpose of an appoggiatura is to enhance the expressiveness and emotional depth of the melody through ornamentation. By introducing a momentary dissonance and resolving it in the following principal note, appoggiaturas add tension, beauty, and a sense of elegance to a piece of music.
-
Although appoggiaturas are predominantly associated with baroque and classical music, they can also be found in other genres such as renaissance and early baroque music, and occasionally in jazz music. The use of appoggiaturas can vary depending on the composer's style and the performance practice of a specific period.
-
A long appoggiatura takes up a bigger portion of the principal note's time value, creating a more pronounced dissonance, while a short appoggiatura has a shorter duration, taking up a smaller portion of the time value. The distinction between the two depends on the context of the music and the composer’s intended effect on the melody.
-
Musicians play the appoggiatura by momentarily emphasizing the grace note before the main note, creating a dissonance or tension in the melody. This tension is then resolved when the appoggiatura gives way to the principal note. The execution of appoggiaturas may vary depending on the specific piece of music and the performance practice of a given musical era.
-
Yes, appoggiaturas were commonly employed by Johann Sebastian Bach in his compositions. As a prominent composer of the baroque era, Bach made use of various ornaments, including appoggiaturas and acciaccaturas, to enhance the expressiveness and depth of his melodies.
-
In baroque music, appoggiaturas often create a momentary dissonance by leaning against a note that is part of the underlying chord. This dissonance resolves when the appoggiatura moves to the principal note, usually belonging to the same chord. Appoggiaturas hence contribute to harmonic movement and tension release in the music.
-
Although uncommon, it is possible for two or more appoggiaturas to be played simultaneously to create a more complex and expressive ornamentation. These instances are typically found in more advanced compositions or in the hands of experienced performers, who can skillfully manage the intricate melodic nuances and harmonic tensions created by multiple appoggiaturas.
Read more articles
Quick video tips
Watch this video, where I talk about Performing Baroque music with modern instruments
““Just as ornamentation can improve a piece when used properly, it can also worsen it when used improperly.””
