FRANCOISCOUPERIN

Les Gots-Runis
ou
NouveauxConcerts
VolumeI/Band I

for Flute/Oboe/Violin
(FluteII/Oboe IllViolinII ad lib.)
andBassoContinuo
flir Flte/ Oboe/Violine
(F1teIIlOboe Il/Violine II ad lib.)
und Bassocontinuo

Preface
by/ von
DavidLasocki

VolumeI /BandI v-Vlll MR 18324

VoluneII / BandII IX-XI. XMR 1832b
VolumeIll / BandIII X. XIT,XIII MR 1832c

BREITKOPF& HARTEL
WIESBADEN.LEIPZIG. PARIS

MUSICARARA
MR 1832a
Printedin Cermny
Contents/Scoring
V ol umel -MR 1 8 3 2 a
V and Bassocontinuo
for Flute/Oboe/Violin
Vl and Bassocontinuo
for Flute/Oboe/Violin
Vll and Bassocontinuo
for Flute/Oboe/Violin
Vlll and Bassocontinuo
for Flute/Oboe/Violn
ll ad lbitumMovementrD
(Flute/Oboe/Violin

Volumell - MR 1832b
lX and Bassocontinuo
for Flute/Oboe/Violin
X and Bassocontinuo
for Flute/Oboe/Violn
Xl and Bassoconlinuo
for Flute/Oboe/Violin
XIV and Bassocontinuo
for Flute/Oboe/Violin

Volumelll - MR 1832c
X Plaintfor 3 Violasda Gamba/Violoncellos/Bassoons
xtl lor 2 Violasda Gamba/Violoncellos/Bassoons
lBassocontinuoad lbitumMovementl)
Xlll for 2 Violasda Gamba/Voloncellos/Bassoons
 This dtion has bee preparedfror a copy of the orginatprinted diton n rhe Bibtiothque Nationate,pris
{V m l 1870 I ent tl e d :
Les Goits{ni!/ou/NOUVEAUX CONcEFTS/ t'usasde toures le_ssortes d,nstrumens
de l\lsque/ausmentsd'ue srande Soade en Trio./tNTtTULE/Le parnasso/ou/L,
APOTHEOSE DE CORELLI./Parl[4onrieur Couperin/Orsanistede ta Chape d ROy;
ordinaire de lall4usique de la Chambre de s IAJESTE; cvdevant/professeuFmaitrede
Composirion, t d'accompasneent de/feu MONSEIGNEUR LE DAUPHtN Duc de
Boursosn/eractuellementmiire de l'INFANTE-BElNE./Prix t5 tr. en btac./A pARtS/
Chez L'Auteur, au coin de la rue neuve des bons Enfans, proche ta ptace des Victoires/
Le Sieur BOIVIN l resle d'or, rub St. Honor, vis; vis ta rue des Eourdonnois/Avec
Pri\ilgedtr toy./ t724.

The relevantportion of Couperint prefceis s fottows (my transtato):

The title of this new book lof peces]servesnot onty to distinguishit from those I have
alreadypublished,but aho to show the diversity of expressionyou wjttfnd co ected in it.
The ltalian style and the French style havesharedrhe Repubticof tusic{in France}for
a long time. For rnyself, I have always put value on thngs rhat should merit it, wthout
regardfor the composeror naton. And the firrt ltalian sonsrasthat aooearedin Pars more
than thrty yearsago, and rhat encouragedm to composesomeafterwards,to mv mind did
wrong to noone, neirherto the works of Lulty, norto thoseof rry ancstors,which wilt atways
be more admirablethan imitable. Thus by a rght that givsme my neutratity, I alwyssil
underthe happy auspicesthat haveguided me untit now.l
Coupernthus draw' attention to the twoJold trle of the peces- Les coirs-.4ni ou Nouveauxconc.6. The
concartsare new that they ar a continuation of the four Concerb royaux he pubtishedtwo yearsprevousty2{1his
is shown further by the numberngof the presntworks as Coocartr fve to founeen)j and rhy atso rpresentan
attempt to reconcile the French sryte and rhe ttatian styte of compostion. An exce ent discussionof thk re-
conciliation of styles, as well as diailedco-mmentson borh Concns royx and Nouvauxconcc.t, wi be found
in Wilfrid [4ellers'sbook on the composer.rAlthough rhe Frenchword concerrusu y meansconcerto,in this caseit
signfies"concerted music in dance form scoredfor an enssmblegroup..........Composdto softe and swoetenthe
Kingt melancholy,they re conceivedin a eryte more French than ttatian..........None the tessthe usc throuahout
..........indicateshow deeply Couperin'sFrenchdorns impregnatsdwith tr3ianism.,,4

Thetitle pageof the Nouveauxconcert3srateronty that they are "for the useof a sonr of musicatnstrumnts.,,A
better clue to nstrumentations providdn the prefaceto the Conct royux (my translation.
The peces..........are
suitable not only for he harpsichord,but atsofor the votin, ftute, oboe
volada 9amba,and basoon. I composedthem for the tittte chamberconceG ro which Louh
XIV summonedme almost everySundayof th yar.Thesepieceswere performedbv Duvt,
Philidor,Alarius,and Dubois (l playedrh harpsichord).5
With rhe exception of the secondmovemsntof the eghthconcort,the thkd movernentof the tenth conce,and the
twelfth and th.teenth concrts.the Nouveauxcorcrts are set out n two stavesand may be convenienttyperformd
on the harpschords they stand.oBut Couperinsaysrhat they are ako suitabtefor violin, ftute, obos. votada gamb,
dnd bassoon.The virtuosi who originallv pelormed the pieceswith him st court were the violinst FranqoisOuvalor
Val,' rhe obort and ba-ssoonist
AndrDanicn Phitdor,6the viota da gamba ptayer Atarius or HtaireVertoq,and
the tassooistDubois.g "The ideal arrangemenrwoutd thus seem to be for two srrnsdinstruments,two wrnd
anstrumnts,and basso contnuo - the strings nd wind ptaving ether togther or attrnatety.Th choico of
nstrumentsshould depend on the expressivequlitiesof the movementin question."l0 Durng Couprin,stifetme
the choice of woodwind nstrumenrwould also havedependedon the kev of the movemnt:the ftute was most at
home n the region of $ hom key, D rnaor;the oboe was more colortabte in key signaturssof from one to three

The secondmovementof the eighth conce( is set out n trio sonatatexture for two treble struments.The edtor
suggeststhat it may be omitted t the dircretion of the performers.The thifd movementof the tenth concert s a
Plante "for violas da gamba or othr unison instruments." The parts are markd "t.ere Viole"2.eme Vol4
and " Basse,sans accords,"that is, for two volasda gmbaand a bassnstrument only.ln th sedition t s presentedfor
thr violas da gamba or violoncollosor bassoons.The twlfth conc.rt k "for two violasda gambaor other unison
instruments."Asain, a choice of violas d qmba or violoncellosor b.$oons is presntedin this editon. The first
movementhas a bassocontinuo, but we are warned that "although you could add an accompnimentof harpsichord
or theorbo to ths concert, t wll alwaysbe best for two violasda gambaor similar inrtrumentswthout anything
funher."rr Surprisngly,one passagehas bassfgures although t s clearly marked unaccompaned. Ths paerageis
enclosdin bracketsin this editon. Th thirteenth concrtis for "two unison nstrumnts,"the clefsernployedagain
implyins a choceof viola, da qamba,violoncellos,or bassoons.
SomeNottionalProblems
There are number of placeswhere the upper of Couperint two tinescotaismore than one note. Scll chords
ar e not m ult ip l es to p sfo r th e v i o l i ,fo . m a n y are si mptyunptayabl on
e the i nstrument,but rtheraddi ti onst o t he
singlemelodv line to be usedwhen the music s ptaved on the harpsichord.since the pesenredition ts inrendedfor
melodv instrumentand bassocontinuothe extra oteshavebeenput in the rght hand of the bassocontiuo reatizatio.

Concerningthe repeatsnorated in rhe piecs,one should note the commentsKenneth citbert has mdeon this
subjectn connectionwith Couperint harpsichordpieces:
There scarcelyany evidenceto suggesttht repeatsin Frenct musc were considered
op ti o n a l .T h e y s h o u l dn o rm l l ybe pl aved,i f one i s to avoi dthe i mD ressi on
of,,ai mi abte
mnatures"often associaredwith these pjeces.Wirhout repeats,the rusicat,,event.'passes
by far too quickly for the ear {especiattythe modern ear, being better attuned to the
perceptionof largermusicalformt ro graspsufficienttywhat is beigso concisetyoffered. tt
is a questionof proportions;for exampte,a performanceof an alemndeor a couranrewith
all jts repatsis the oly one capableof presentingthe work in its true temporatdimensions.
Repetsmay be varied somewhat,in slow or moderatepieces.but one needsto bearn hd
th composer'sown remrksabout this practice,epres5edin exceptiona y strong tanguage,
h i s p re td c eto Bo o k l l l l o f h i s h a psi chord
D i ecesl .l z
'n

For n unde.standinqof the corrct performanceot Couperint many ornaments,we mav b guided by the tabte
of or nam ent sa t th e b e g i n n i n go f h i s frrs t b ook of harrrsi chord pi eces(1713)and the i nstructons
contai nedin h s
L' A r t do t ouc h e rl c l a v .c { 1 7 1 6 ).rr U n fo n unatel y,manyprobtems,emdi nunsotved.

Por de vox and cou

Couperin ussthe ornament called in lralian the appoggiaturajn both ascendingand descend;ngposrt|ons.In his
tble or ornamentswe find the noration * for the ascendngvariety {which he c||s port de vox couto

or smply po|t de voix), without any indication ol how it shoutd be performed.fhe descendingvariety is absent
entely. In L'Art de toucher the descendinsvariety is catted a cout and we find the fo owng nstructions(my
traslation):"The little gracenore of a port de voix o of_acoutlmust be struck with the harmony;rnat rsto say,at
the time one must ply the principal note thatfollowsirj'14 Nowhereis there any suggestionof how tos the orna-

The problem of how long the ornamentsshould be ad whether they should come on or befor the beat is best
discussedn the largercontext of all French instructios from the period in question.FrederickNeumanhaswritten:
The downbat patte.n of French ornamentationtabteslik those of D,Angtebert,Dieupart,
Le 8oux, erc. was limited to cedain types of Voscht:se tThe cermn equivatentof
apposgiaturaor port de voixl, namely those in the very dfinite metodicharmonicconrexF
of a preparedand step-wiseresolveddhsonac;suchVorschtasewere indicatedbV bstract
symboh{mostlyhooks) whereasthe little oteshad generattythe neanngsuggestedby their
pactoralsymbolismj to be executed beiwer rhe principt nores, hence in anticipation.
Downbeat VoBchliseappearedin Francetmostexctusivetyin ctaviertharpsichordrworKs.
yet they were far from standarizedven in this medium: a numberof keyboa.d ptayers in
both the 17th and lSth centures,amongthm Nive6, cigautt, Raison,Sait-Lambert,Siret,
Luc lvlarchandr defnitely favoured the upbat paftern..........For the mediaof rhe vorceand
of the melody instruments,atcipation ws the favoured ryte throuqh the tTth nd the
bette. part of the 18th century.rc
From his study of Couperint harpsichordpieces,Neumanncame ro the fo|owing conctusions:

Generaldirectivescan be given onty in the broadestterms ad wirh the proverbialgraisof

s l t,W i th ru c h a p ro v i s oi r c a nb e s ai drhsrrhe doi !beat
rutei s mosrti l ety to
coule! and ports d voix Lharre in the upper voice or voices,rhLstrike a d.ssonance " pptv ro such
qainrr
rhe bass,dnd tht do so on the heavv metncat beats;that Lhe cout in these cr;drm-
stanceswill be shod, resultngin a "Lombard" type pattern and witl rarety if ever exted
to lhaf the value of the main nore] . On the other hand, the port de vox. especiay in the
port d. vox et pinc combitio,hasa wider scopeof rhythmc freedomand k ore tiketv
to be, on appropriate occasions,of the long, expresive suspensiontype. Anticiparo is
most likely to occur on light beats,especiattyon feminine endings;at the stan of a piecor
phrasej between descendgthirdsj n the bass linej in a unaccompaiedvoice; where
anticpato clarifiestwo or more simulraneousornments;wheredownbeatredition woutd
impoverishthe harmony, or would inteerewith a rhvthm pattern that is of structuratim-
portanceor nfrngeon th integrity of a ,econd voice that happensto coincide on the
emb e l l i s h edo te . In s u mma ry .i t can be sai dth.t anl i ci pdti oni s:ndi catedw herever i t
f av o u re db y me l o d i ch, a rmo n i co. r rhythmi cl osi c.l 6
 Coup.rn makesmuch us of th pnc norated ,. . Two varistsot th ornament-' the pincl ,impt ad rh
pinc6 doublo - ar shown in both the rable of ornamntsin the finr book of harpsichordpiecesand in L. Art dG
toch.r {intrpretations[a] and [b], respectivsty,btov,r:

pncimple

In each c$ the intntion semsto b a rapid atternationwth the note btow !h one notated. As to how tongthe
alternation should last, snd indeed whether on rhoutd ptay a !mpt. or a doubh, Couperin says onty that (my
fanslarion) "Generally spakig,ir is the valus of the notes that must detrmnetho duration ot pince'doubt3

Couperin commonly combinsthe po.t dc voix and he pnd to produce the port d ox smpto or port d

port do voix doble

Fo. th tremblemsnt (shakeor t.ll) Couperin usesthe sig In the table or oraments n hsfirst book of
harp5chordpieceshe gvssevoralvarietesof rremblemnt:

rembl.mnt appuy,
ei li lprpared
andt ied tri l l )

tremblmentouvert
( opent r i rl )

{ c los edt r l l )

tremblm.nt lian,
t r c . ppu y e (tri ttti e d
wthout beingprepared)

trmblementd6tache
{dtachedtrill)

ln L'An de touchsr,howver,
Couperinaddsthe foltowing(my rransarion):

Althougb shakesare indcatedby noter of equat vtue n the tabt of ornamentsn my

first book, they must everthles bgin more slowly than they end: but this sradation
should be imperceptible.On whalever nore a shake may be marked. it must atwaysbegin
o th tone or semitone above. Shakesof any considerabtedurarion consistof three
component parts, whch in the execution appar to bo one and the Same rhig: (l) the
preparatonto be made on the note above rhe principal note; {2} the rpercussion!;(3) th
 Other shakes.r arbitrary: thsre are some rht have the preparatono rhe uppr
auxalarynotej others ro short that thoy havs noitherthe preparatoonor ths fnal
stop.Onecanvenptayshakes endngwirhan abruptrest.18
Scethe sign $ doubls(turn):
rpresnrs

the sgn t , whchCouprn probablv4andsfor a t.ombl.matouven.l9

oftensuserbut neverexplans.
Finally,Couperin
class6
asan ornament,andexplins,
whatw shouldconsider
an artcul.tionark:

Noi3insle3
The Frenchconventonof not.3 ngal* appliesto the louvlau Conc.ri., of course.Most of rhe apptctioswit
be straghtforwardro th prformer familiar with the convention, but therc are a fsw problerns.When equally.
wrttn notes normally eligible for nequalty appar . th sam movement as notes of the sarnevalue writt
an a dofed rhythm, t is prhapstho wisestsoluton to play the equ.lly-written noter only slightly unsqual, and to
exaggerateths lngth of the dotted notes. lvany nots sligblefor inquality occur i slrrrdpars.In his tabl of
ornamntsCoupernshowsthe following figur

3d comrents{my translation}; "Slurs, the dots of whch mark that th secondnot of.ach beat ust b mor
sustaind"- a sttementthat most modern authortiestaks ro refer to a Lomba.dic Gho.tlong, or in this case,
riquaveriottsd quaver)rhythm. l the opnonof KennethGlbert.

The ro-callsd"Lombardic" rhythm, or sho(-log pairr of notes in exprossivepassages, can

be introducd freely and, bsliv,far mor often tha lpeciIclly indcardby Couprin.
Ths dot over the second ote of a par of slurred quavsrs,as ir appearsin the table of
oramentsmay somerimeshsvebenomtted unntentionatlyby the enqraver.2o

Th tonggengpatterns usedby Fronch fluts and oboe plsyers of Coupri'sday producea form of lurng acro3s
the be.t.zr Unqual pairs of notos slured withr th beat have to b espci.lly ponted out Gee the ndcation
poinr+oul; for the first movement of tho twelfth concrr). The ma.king croch.! qrl., normally usd to can@l
the inequlityof the qurvrsin a movement,is usdby Couperirdundantlyon two occsions(the lecond rnovemet
of rhe ffth ooncrt and ths secondmovementof the sixth com.t), rince n C and y'm*res it is the smquaveBthat
are eligible fo nquality.Although 3/2 metre usually indicatesthar the crotchetsre eligibl for inequaliry, n the
Courantelrangoisof rhe nnth ooncortand th6 two Cour.nts of th elevnth.oncrr ir h the quaversthat ehouldbe
played unequally.sincethe moveents are rsally written n that mixture of 3/2 and 6/4 metre characterislicof the

"Tlis"
In may movemntscoupern ncosstentlyusedon o more t.ile too msnl^for dond fig'./res,for example J.f,
The very inconristencyarguesaganstany spcialmeannglor th overtalns.FredrickNurannhas pointed out
that {nry tranrlaton):

Gigault..........employsa smlarirrtional ortio. In the advicto the.ead.sof hs book of

org6n pieceshe says: "..........you must ot let the several-times-taled quaverskighten you,
seingthat they must be consideredas f rhey were oly !miqu.vers." lt s perhapsfrom
Gigault that Couperinadofid rhis cprceof notation, which hs mploysfrom tme to tims
in many of his works..........lt seemsto me that a psychologiclsoluton [of th problm of
why he used the notationl can be found. As every teachr kows, dotted rhythms are
difficult to perform, and there h lwysthe tendency not to hold the dot long enoughand to
makea trpler of t..........lt is possblethatit was ruch experiencswith pupik that persuaded
Couperin to use lrhe kratoal oatiol for its shock value, n order to iduce th per-
formeB at frst slht not to surrsndrto tho natural inrtaand to play thesenotes in a wll
definedrhvthm.r

Couprn'smixture of '?ational" and "iratonal" notaton has beenretaiedn the prssentedrion.

 Couprin often as a phrasemark. The rhorterr of some of the phrassmay come as a surprse
to the modernreader.Similar short phrasesare indictedalso by Blavtn his compositonsfor the fluie.

Edtorl Commsnt!
For fu.ther nformation on all aspectsof Frnch Baroque performacopractice, t should like to recommend
Bey Banq f\ther's excllent Intrprtaton of Fronch Mu!c fom 1675 to 1775 for Woodwnd and Orhr
Performers(New York: McGinnis& lvlarx,1973).
ln the presnl edition, editorial suqgestions
are madein the cufomrry mannerby mansof parentheses and dotted
slurs.A list of correctonsappearsblow.
Tho realizationof the bassocotnuo is by ProlssorBichard He.vig (fifth, sixth, seventh,and tenth concertt and
ProfessorGerhard Krapf (eighth, nith, eleventh, twelfth, and fourteenth concrts), both of The Unverrity of
lowa. I should lke to exprssmy thanks to them for ther help in th preparationof this editon.

DAVID LASOCKI
Lake Forest/Aurora.lllinois. U.S.A.
Ausust 1974

CORRECTIONS

Abbreviations: CapitalBomnnumersh = No.of pec

SmallRomannumrals = No.of movernenl
Arabicnumerals (bar)number
- [4easure
fl. = melodyinstrumnt
b.c, = basso contnuo
v9. = violada samba
b. = beat

v 8 b.c. b.4. three quavrs

v 'l b .c . n .1 ' 3 A Bt G
43 ll. .24 Semiquvf,quaver,semiquaver
VI 5 b.c. bbo only a srdon
i 10 b.c. n.4-6 two smquvrs, quaver
vII 13 fl. bt in b.3 dond quavr
ii 2A b.c. Ao
VIII ii 16 sgnature2/3 and notation in taled mnims
v ii 9 b .c . s l u rn .1 -2
lx I fl . n .6 d'!
vi 12 & 13 b.c. n.5-7 quaver,three hemidemsomiquavrs
19 fl . tri l l o n b .2
XI notation in tailed mns
iv 12 fl . n .3 ' 6 d d s t b ' c "
vi 7 fl.^ n.5
Xu iii 6 vsz n.1 with tal
10 v q r n .1 w rh ta i l
iv sgature8/4
FOOfNOTES
1. Le litre-de ce nouveauLivre, non seutement, srua te d istinquerde ceux que i,ay dja donn; maisconvient
ncore marquerla diverste-descaracteresqu/on y trouvearassembt.
Lp 9o0t ltalien et le-soft Franqgis,ont partagoepuis onstemps,(en France)r Rpubtquede ta [usique;
mon egard,J'ay toours estim ls chossqui le meritoient; sansacception d,auteurs,ny de Nation; et ts
premiresSonadesltali6nes qui parurent ; Paris it y a ptus d trente anns, et qui m,encouraqrent; en
composerensuite,ne firenr aucun torr dans mo esprit, ny alx ouvrageide Monsieurde Lu i, ni ceux d
mes anc&.et; qui seront rocouls plus dmirabtes,qu,imitabtes. Airi par un dro,r qu me oonne ma
neutralit,Je voguetoo,ourssoustesheureuxauspicesqu m'ont suidjusqu,apreient.
2. S eom y edi ti o n(L o n d o n :M u s i c an a ra ,1 9 74;i .R . 1648).
3. Wllrid lellers,Franqo3Coupern and rhe Fronch CtassicatT'adron (London: Dennis Dobson, 19EO),pp.
234.71.
4. lbid.. p.234.
5. Les pieces..........Conviennent
non Seulement,au Clavecin;mak aussyau voto, a ta Ftute, au hautbos.a ta
Viole, Et au Bassoon,Je les avois fakes pour les petits Concens de chmbre, ou Loijis quatorze me faisoit
Venr presquetoui les dimanchesdel'an.e. Ces pices toient Executespar tvessieursDuvat, phitidor.
Alarius, Et Duboh: J'y touchoh le Clavcctrr.
6, The presentedition has been designedlor a melody instrument and bassocontinuo. The Nouveauxconcerts
will be found in a fo.m suitable lor performanceon the harpschordin the compteteedition of Couperint
works {OouvresComplate3de FranqosCoupern.VIII: Mu3iqud chsmbre lI, ed. AndrdSchaeffner tparis:
Edhionsde L'Oiseaulyre, 1933). -
7. S eeE ugineB o rre l ," D u v a l l ," n D i e Mo s kn ceschi chtG
und cesenw a ,rrr{1950} ,cot. 1013;andLi one t dela
Lairence,L'colefran!sede volon de Lu y'a Votti {Paras:Detagrsve,.1922),Vot. 1, pp.t02-20_
8. S eec har le rl i c h a e lC a ro l l ," Ph i l d o r," i nD i eMui kncorchchtundcsonw art,X {1962),coh.1190.1200.
9. Sede la Laurence,op. ct., p.105.
op. ct., p.235.
10. l\4ellers,
'l 1. Ouoy qu'on puissejoindre un accompagnement de Clvecn,o de Teorbe; ce Concert,il lera toujoursmieuxa2
sansrien de plus.
Violes,ou deux istrumenssembables,
12. Kenneth Gilbert, lntrodudon to FranqoisCouperin: Pic!de ctayecn,prmertivre (paris:Heuget,.1972),p.
XVI.
13. For the table of ornamentsse,for example,Piere Citron, Couprn{ [Paris]: Editionsdu Seur,1956), pp.Bt
and 105. FrangpisCorperin,L'Art de tochr l clvcn,ed. Anna Lide, rras.t\evanwayRoberts(Wiesbaden:
Breitkopf & H:iftel, 1933).
14. ll faut que l petite note perded'un por-de-voix, ou d'un cout frape avec L,hrmonie:c,est dire dans te
tems qu on dvroit toucher la note de valeur qui la suit.
15. Frederick Neumnn,"Coupern and th Downbeat Doctrine for Appoggaturas,,,Acia mu3icotogicaXLt/t-2
{ J an.- J un e , i 9 6 9 ). p .7 3 .
16. lbid., pp.83-84.
17. C'est la valur des notes qui doit, en 0enera,dterminerla dure des pincs-doubtes.
Co'rprn,op. ct., p.18.
f8. Ouoi que les tremblemenssoent marquse-gaux,dans la rable des agrinensde mon premertvre,ts doivent
dojvent cepedant commoncerplus lentementqu'ils ne finissent: mais,cette gradationdoittre imperceptibte.
Sur quelquenote qu'un tremblomentsoit marqu, il faut toujou6 te commencersur te ron, ou sur te demiton
au dessus.Les femblemenr d'une valeur un peu consderable, renfermenttros objets,que dans L,executione
parohsetqu'une meme chose. 1.o L'appuy que se doit former sur ta not au dessusde L.essenrite.2.o Le!
batemens.3.o Le point'arst.
A L'egrdde! aut.es tremblemensils ront arbtraires.ll y en d'appuys;d.autressi courts qu,its n,ont nv
ppuy, ny point d'arest. On en peut fire mmd'asprs.Couprn,op. cir., pp.t7-18.
19. Hotteterre, who calk such an omamnt a double cadence, rhis sign of Couprint for h. See Jacques
Hotteterre le Romain, Prncpl6 of th. Flus, Rocorderand'r!ee
Ob@, t.an! and ed. Dav'd Lasocki (London:
Barrie& Rocklff; New York: Praeser,1968tp-65.
20. Gilben, op. ct., pp. XX.
21. SeeHotteterre,op. cit., pp.21-23.
22. Mellers{op. cr., p.299) saysthat "ln pssaqes
in whch a dotted noto is followd by a group of very rapdnotes,
the value of the dot k v.riable. The quick notes should take exactly as long as is indcatdby the numbr of
'tih" affixed to them, the dot being stretched out/ or conracted,in ordr to rgutarzethe me.sure.,,
believethre is no evidecein favour of this orcrice-
23. FredorickNeumann,"La not ponteer la soi-dktnt 'mneie fran$he,"' aevc de mucotoqoLtlt fi965),
oo. 82-83.