CONTENTS

V. INTERPRETATING WRITTEN ACCIDENTALS

Accidentals to Single 69
1. Early Apply Basically
Notes P<*ge
2. Effect of the Bar-line on Accidentals 69
3. Effect of the Hexachord on Accidentals 70
4. Effect of Repetition on Accidentals 70
5. Accidentals Occasionally Retrospective 71

6. Accidentals in Figured Bass 73

VI. ADDING UNWRITTEN ACCIDENTALS

1. Unwritten Accidentals for Necessity and Beauty 74
75
2. Correcting Imperfect Intervals
3. The Diminished or Augmented Octave Clash 76
The 77
4. Picardy Third
5. The 79
Leading-note Principle
6. The Leading-note Itself
K()

7. The 'Double Leading-note' 84

1
8. The 'Landini Cadence H4
9. Sharp Mediants Assumed Next to Sharp Leading-
notes ^4
10. Accidentals Suggested by the Performer's Taste 85
1
11. Different 'Musica Ficta Shown in Different
Tablatures of the Same Piece 86

PART TWO: EMBELLISHMENT

VIL THE PLACE OF EMBELLISHMENT
1. The Performer's Share in the Figuration KK
2. The Primary Argument about Figuration Itself K c>
3. The Secondary Argument about Performer's
Embellishments 91
4. An Ornamental Figuration to be Taken Lightly 94
5. Effect of Omitting Obligatory Ornamentation 95
6. Some Early Terms for Embellishment 96
7. Solution of Ex. 20 %
VIII. SIXTEENTH- CENTURY ORNAMENTATION
1.
Sixteenth-century Ornamentation a Melodic Art 97
2. Fifteenth and Early Sixteenth Centuries 97
3. The Later Sixteenth Century 99
4.
Ornamenting Polyphonic Works Today 1 01
8