Chapters in this book

1. Frontmatter i
2. Preface vii
3. Acknowledgments ix
4. Contents xi
5. List of Abbreviations xiii
6. PART I: INTRODUCTION
7. 1 Ornament and Structure 3
8. 2 The Categories of Musical Ornaments 7
9. 3 Historical Performance and the Problem of Method 9
10. PART II: BAROQUE TRENDS OF ORNAMENTATION
11. Introduction 19
12. 4 Italian Developments 21
13. 5 French Developments 31
14. 6 German Developments 37
15. 7 J. S. Bach's Usage 41
16. PART III: ONE-NOTE GRACES
17. Introduction: Vorschlag, Nachschlag, Zwischenschlag, Zusammenschlag 47
18. 8 The French Port de voix and Coulé: Definition and Character 49
19. 9 Port de voix and Coulé for Voice and Melody Instruments, 1636-1715 52
20. 10 Port de voix and Coulé on the Lute and the Keyboard 1615-1715 66
21. 11 Couperin's Ports de voix and Coulés 75
22. 12 Port de voix and Coulé, 1715-1775 80
23. 13 Accent and Chûte 92
24. 14 Italian One-Note Graces 1590-1710 97
25. 15 German One-Note Graces, 1620-1715 103
26. 16 J. S. Bach's One-Note Graces 124
27. 17 Italian One-Note Graces 1710-1760 164
28. 18 German One-Note Graces 1715-1765 178
29. PART IV: THE SLIDE
30. Introduction: Two-Note Graces and the Nature of the Slide 203
31. 19 The French Slide, 1689-1776 205
32. 20 The Italo-German Slide, 1600-1715 211
33. 21 J. S. Bach's Slide 217
34. 22 The Italian Slide, 1710-1760 229
35. 23 The German Slide 1715-1780 232
36. PART V: THE TRILL
37. Introduction: Designs and Terms 241
38. 24 The French Trill 1630-1715 244
39. 25 Couperin's Trill 263
40. 26 The French Trill, 1715-1785 270
41. 27 The Italian Trill, 1590-1710 287
42. 28 The German Trill 1615-1715 296
43. 29 J. S. Bach's Trill 312
44. 30 The Italian Trill, 1710-1760 345
45. 31 The German Trill, 1715-1780 365
46. PART VI: THE COMPOUND TRILL
47. Introduction: Turn-Trill, Slide-Trill, Mordent-Trill 389
48. 32 The French Compound Trill 1685-1760 392
49. 33 J. S. Bach s Compound Trill 399
50. 34 The Italian and German Compound Trill 1715-1780 406
51. PART VII: THE MORDENT
52. Introduction: Types and Designs 415
53. 35 The French Mordent, 1630-1715 418
54. 36 The Mordent of Couperin and Later Masters, 1710-1780 427
55. 37 The Italo-German Mordent 1600-1715 436
56. 38 J. S. Bach's Mordent 441
57. 39 The Italian Mordent, 1710-1760 452
58. 40 The German Mordent, 1715-1765 456
59. PART VIII: OTHER SMALL ORNAMENTS
60. 41 The Turn 465
61. 42 The Zusammenschlag (Acciaccatura) 479
62. 43 The Anschlag 488
63. 44 The Arpeggio 492
64. 45 The Vibrato 511
65. PART IX: FREE ORNAMENTATION
66. Introduction 525
67. 46 Free Ornamentation of the French School 526
68. 47 Free Ornamentation of the Italo-German School in the 17th Century 532
69. 48 J. S. Bach's Free Ornamentation 544
70. 49 Free Ornamentation of the Italo-German School, 1700-1775 553
71. Postscript: Historical Research and Modern Performance 574
72. Appendix: Selective Glossary of Terms and Symbols 577
73. Selected Bibliography 605
74. Index 615