This guide to understanding ornamentation in each era of music includes information on how to understand and remain faithful to the composer's intention, how many and which notes to use in each ornament, how to integrate ornaments smoothly into a performance and simple strategies and systems for realizing and practicing ornaments. A synthesis of years of scholarly research resulting in a logical, easy to follow and accurate volume.
Most Helpful Customer Reviews
As noted by Stanley Richie, a major problem with music written from the mid-19th century forward is that most composers predetermine what the ornamentation is supposed to be. The result is that we as performers do not always understand the implications of what we are playing. Great violinists often have an intuitive sense of what is ornament and what is melody, but the rest of us must discover this for ourselves. A very good introduction to how ornamentation works. After you read it, camp out on YouTube and watch period performers - you will get a better grasp of what they are doing. Then start doing it yourself; it is very liberating. Oh, BTW, get Stanley Richie's book as well.
I have never before seen such precise information on ornamentation from the various periods of music displayed so clearly and accurately. The examples are clearly printed in music notation, and a very complete explanation of the differing uses of the same symbol in different periods, and by different composers in the same periods. I highly recommend this treatise to anyone who has ever wondered whether to start a trill on the upper or lower note, not to mention the more complex symbols.
A clear and accurate description of ornamentation from early Baroque through to modern musical manuscripts. The book would have been much more helpful if it included a CD that played the ornaments at different tempos and on different keyboards. What works on a harpsichord is different for a pipe organ and further on piano. Each as unique qualities of timbre and reverberation that allow some ornamentations to work well, others, not so much. The authors didn't point this out. Otherwise, a valuable resource for keyboardists devoted to Baroque and classical keyboard music. A must have for teachers.
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