Performing Bach's Keyboard Music Embellishments, Part VII, The Turn and the Slide

Part VIII, Compound Ornaments Part IX, Additional Remarks

Author(s): George A. Kochevitsky
Source: Bach, Vol. 6, No. 4 (OCTOBER, 1975), pp. 23-29
Published by: Riemenschneider Bach Institute
Stable URL: http://www.jstor.org/stable/41639965
Accessed: 05-06-2017 00:30 UTC

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 Performing Bach's Keyboard Music -
Embellishments,
Part VII, The Turn and the Slide
Part VIII, Compound Ornaments
Part IX, Additional Remarks
By George A. Kochevitsky
New York City
The Turn

Bach's indication of the turn in his "Table of Ornaments" is not com-

plete. Two more kinds of turns should be added: the turn between notes
(see Example 1) and the turn between a dotted note and its (shorter)
ancillary note, which usually ends on the dot (see Example 2). In each of
these cases, the rhythmical forms might, and often should, be modified by
the performer in accordance with the circumstances.

The speed at which a turn should be executed depends upon the

tempo and the character of the composition in which it occurs. Further-
more, it is frequently possible to realize a turn in more than one way.
For instance, the turn in the twelfth measure of the Prelude to the English
Suite in F Major might be played in several ways (see Examples 3a, 3b,
and 3c, and 3d). In the last two of these solutions, the rhythmical struc-
ture is preserved.

The execution of the Bach turn does not usually present a problem
to the performer. Sometimes, however, if the performer tries to decipher
the turn (or any other ornament) "correctly" (i.e., strictly, according to
"the rules"), forbidden parallel fifths or octaves result. Such a situation
occurs in the sixteenth measure of the F-Minor Invention (see Example 4a)
where "correct" deciphering brings about parallel fifths. This same turn is
written out in full notes in Wilhelm Friedeman Bachs Clavier-Bchlein
(see Example 4b). J. N. Forkel's version of the same ornament appears
in his edition of the Bach Inventions (see Example 4c).1
Bach himself frequently wrote out his turns in full notes. Examples
of this kind are to be found in Variation 13 of the Goldberg Variations ;
in the Gigue from the French Overture ; in the fugues in c-sharp major,
d minor, and g major from the first book of the Well-Tempered Clavier,
and in the Fugue in E Minor from the second (1744) book.
The Slide

The term "slide" refers to a rapid and smooth sliding through two
conjunct lower accessory notes to the main note. There are various means

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of indicating this ornament (see Example 5). Sometimes Bach wrote out
the slide in ordinary notes. (See, for instance, the slide in the third meas-
ure of Gavotte II from the French Overture [Example 6].)

The Bach slide is usually played on the beat. However, there is evi-
dence that this was not always the case: J. D. Heinichen, writing in 1728,
noted that when the beginning of the slide on the beat results in parallel
fifths or octaves, then it should be played before the beat; some of the
manuscripts of the Fugue in G Minor from the Well-Tempered Clavier ,
Book 11, employ a sign indicating a slide to be played before the beat; and
some eighteenth-century copies of this same piece write out the slide in
full, and before the beat. (See Examples 7a and 7b.) 2

Compound Ornaments
The compound ornaments indicated in Bach's keyboard pieces present
no particular problems for the performer. Bach himself indicated proper
executions for some of them in his "Table," and logical decipherments for
the others are not difficult to find.

Putnam Aldrich recommends a straight-forward execution of the

mordent, turn, and trill-with-ascending-prefix combination which Bach
indicates in measures 15 and 16 of his Invention 9 (the "F-Minor"; see
Example 8). Of course, solutions employing different rhythmic organi-
zations of the ornamented line are also possible.

Rudolf Steglich points out in his edition of the Inventionen und

Sinfonien that in Invention 7 (the ftE Minor"), we can observe a piece
in which, not only did Bach himself add several ornaments ("during his
further teaching activity"), but also thirteen ornaments were added or
changed by a pupil of Bach's - Heinrich Nicolaus Gerber.3

Heinrich Nicolaus Gerber (Bach's student during the years 1725 and
1726) wrote out in full certain ornaments indicated in Bachs Invention in
E Minor (see Example 9). Gerbers decipherings are, indeed, remarkable
- the following examples from his realization of the group of ornaments
encountered in measures 7-9 being of special interest to the topic at hand:

1) The trill in measure 7 is evidently deciphered as a measured,

main-note trill.

2) In measure 9, the c-sharp is "advanced" from its originally

indicated place at the beginning of the second beat, to sound
within the initial beat.

3) The short-hand for the ornament indicated over the second

beat in measure 9 has been changed from the regular trill

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 sign to that indicating a trill with ascending prefix and then
deciphered as a trill with descending prefix!

After studying Gerber s deciphering of the ornaments in measure 9

of the E Minor Invention, the writer (even though convinced that a rela-
tively slow tempo is in order for this Invention) has concluded that the
rhythmic pattern which Gerber shows could not have been executed pre-
cisely. Perhaps the twelve notes included in the ornamental pattern were
played evenly, or, more likely, they may have been performed in two
groups - the one of five notes and the other of seven ( Gerber 's strokings
hint at such an arrangement). In Gerbers time it was not customary to
employ the now common practice of uniting odd numbers of notes of
equal value into a single beat, whose division was indicated by means of
numerals placed above the appropriate noteheads.
The numerous additions and changes involved in Gerber s decipher-
ings would seem to indicate that Bach's ornaments were treated somewhat
more freely by his pupils than we have been led to believe.

Additional Remarks

Although it was customary in Bach's time for the performer to vary

the composer's ornaments and to add ornaments according to his own taste
where the composer had omitted ornaments, twentieth-century Bach per-
formers must practice extreme care and restraint in this respect. Baroque
performers were thoroughly trained in these matters; most modern per-
formers are not.

It goes without saying that ornaments written by the composer near

the beginning of a piece and omitted later at similar spots could, and even
should, be added. The composer took this for granted.4 The indication of
ornaments in Bach's Invention 1 in Major is a good example of a piece
in which this practice is appropriate. Bach wrote in the inverted mordent
in the subject of this Invention, and some pianists play it accordingly (see
example 10a); some performers play the ordinary mordent (see Example
10b); some, the Pralltriller described by C.P.E. Bach (see Example 10c).
The writer cannot endorse the solution to this problem suggested by
Rosalyn Tureck5 (see Example lOd). Such an execution distorts the
melodic design; and, besides, the repeated sounds unpleasant in this
context.

It would seem that the performer might add inverted mordents at a

repeats of the subject (see measures 7 and 8, lower voice). In measu
9 and 10 the subject is inverted; but, since the reflection is not complete
strict, the substitution of the ordinary mordent for the original invert
mordent (in true mirror fashion) might be controversial.

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 In general, it would seem best, in Bach, to omit "implied" ornaments,
rather than to add extra ornaments. Aside from the fact that Bach seems
to have been extraordinarily precise (for his time) in indicating orna-
ments, it is also true that in the case of piano performance, the modern
instrument is not so suitable to the execution of ornaments as were the
older instruments - i.e., the harpsichord and the clavichord. For this
reason, it would seem legitimate in piano performances (especially in the
performance of fast pieces) to simplify or to abbreviate some ornaments,
as follows:

Instead of a short trill with a termination, a turn might be

played.
Instead of a short trill, the Pralltriller (inverted mordent)
might be used.

In playing a mordent in a piece of very fast tempo, the

performer could play two notes simultaneously, releasing the
subsidiary note momentarily and detaining the finger on the
main note (an execution similar to that of the simultaneous
acciaccatura) .

Of course, all of the above mentioned simplifications should be used

very infrequently - really, only when absolutely necessary.
Walter Gieseking taught his piano students to play ornaments with
their fingers lying prepared on top of the keys, before depressing them.
In this way, the ornaments sound lighter - as if they have retreated from
the melodic line, which is produced in a different way (i.e., with the
upper parts of the body's playing apparatus).6

Contrary to this concept of execution, Rosalyn Tureck suggests that

the ornaments should be produced with the same tone quality as are the
main notes of the piece.7 The writer believes the indiscriminate application
of this principle to be wrong, since not all of Bach's ornaments are essen-
tial to the basic melodic line. Miss Tureck's method would confuse the
execution of Baroque ornaments with that of ornaments of a later century,
when the ornament became a substantial part of the melody and was, in
fact, interwoven with it.

The writer strongly recommends using three fingers, instead of two,

for the three-note figures - both mordents and inverted mordents. The
choice of fingers should depend upon the topography of the keyboard -
i.e., the relationship of the black and white keys. Since all mordents in
a composition must be executed absolutely evenly, the student should
practice each combination of keys - two white, two black, black and
white, and white and black (the latter two in small and large seconds,

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each). One should practice these in sequence; keeping identical fingers
for identical combinations, listening carefully, and checking any accidental
unevenness. It is more convenient to trill with non-adjacent fingers ( 1-3,
2-4). Such a fingering facilitates forearm rotation; and it is, also, easier
to innervate non-adjacent fingers in this way.

It is important to remember that there are no ready-to-use, easy

"recipes" for performing Bach ornaments. The problem is complex, but
not hopeless. In order to decipher the signs for ornaments correctly, the
following should be observed: one must be well acquainted with the rules
and customs of the time; one must be critical in examining every edition
and must always compare the suggested decipherings of several editors
before choosing an execution pattern; one must analyze the function,
essence, and purpose of each ornament, determining the way in which
that ornament is woven into the melodic line and examining most carefully
the "implied harmony" of the entire passage; one should be careful not
to introduce forbidden parallels; one should always consider carefully the
two main ornamentation influences on German composers in Bach's time
- the French, and the Italian (the title of a composition is sometimes
helpful in this respect - Aria Variata alla maniera Italiana, Italian Con-
certo, French Overture (but not, of course, "French Suites," since the desig-
nation "French" was not original); one should forget neither rules of
"internal evidence" - i.e., the musical context - or of "external evidence"
- i.e., examples of ornaments written out by the composer in ordinary
notes; and one must never forget that musical notation is, at best, imprecise
and symbolic - a fact which must be kept in mind when deciphering orna-
ments no less than when reading any other element of musical notation.

It follows that there may be more than one plausible solution for the
deciphering of an ornament and, thus, some room for individual taste and
preference, even in the execution of Sebastian Bach s ornaments.

Footnotes

1 The author wishes to point out that parallel fifths occur in the decipherin
turn in measure 16 of the F -Minor Invention in the Alfred edition. (See, a
author's article dealing with the inverted mordent in BACH , Vol. VI, No.
22-27.) Here, the editor, W. A. Palmer, evidently overlooked these paral
does, however, bring to the reader's attention the above-mentioned exampl
W. F. Bach's Clavier-Bchlein. Palmer's deciphering differs only rhythm
from the incorrect one shown above in Example 5 c.
2 See Johann David Heinichen, Der Generalbass in der Composition (D
Author's Ausgabe, 1728), p. 527.
3 See Rudolf Steglich, "Preface" and "Notes," in J. S. Bach, Inventionen u
fonien (Munich-Duisburg: G. Henle, 1954).
4 Gerold Frotscher, Auffhrungpraxis alter Musik (Locarno: Heinrichshofe
p. 111.

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5 See Rosalyn Tureck, An Introduction to the Performance of Bach, "Further Notes
on Ornamentation" (London: Oxford University Press, I960), Vol. I, pp. 9-10.
6 See Jorg Demus, " Bach am Klavier," in " sterreichische Musikzeitschrift," Janu-
ary, 1954.

Musical Examples

Ex. 1. The Turn Between Notes

Ex. 2. The Turn Between a Dotted Note and Its Shorter Ancillary Note

Exs. 3a, 3b, 3c, 3d. Bach, English Suite in F Major , Prelude , meas. 12,
As Written and As Played in Various Ways

Ex. 4a. Bach, Invention in F Minor , meas. 16, "Correa" Deciphering

Creating Parallel Fifths

Ex. 4b. W. F. Bach's Clavier-Bchlein Deciphering of the Same

Ornament

Ex. 4c. J. N. Forkel's Version of the Same Ornament

Ex. 5. Various Means of Indicating the Slide

Ex. 6. A Written-Out Bach Slide, Gavotte II, French Overture , meas. 3

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Ex. 7a. Bach, Fugue in G Minor , Well-Tempered Clavier , Bk. II,
meas. 83, as indicated in Some Manuscript Copies

Ex. 7b. The Same Ornament as Indicated in Other Eighteenth-Century

Manuscripts

Ex. 8. J. S. Bach, Invention 9 in F Minor, meas. 15-16,

Compound Ornament, as Deciphered by Putnam Aldrich

Ex. 9. Bach, Invention 7 in E Minor, meas. 7-9, Compound Ornament, As

Deciphered by Heinrich Nicolaus Gerber (after Rudolf Steglich,
"Preface" and "Notes," to J. S. Bach, Inventionen und Sinfonien,
Munich, 1954)

Exs. 10a, 10b, 10c, lOd. Various Decipherings of the Ornament Sign in
Bach s Invention 1 in Major, meas. 1, upper voices

From The Editor's Desk

A New "Department"
A new "department" will make its initial appearance in the January
1976 issue of BACH. Beginning with that issue, one or two books and/or
recordings concerned with Bach or his times will be reviewed. Addresses
of publishers, as well as bibliographic information, will be included, but
no price listings will be given.

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