CONTENTS

3.
Baroque Trills of the Main Period page 174
4. The Preparation of Baroque Trills 176
5. The Speed of Baroque Trills 181
6. The Termination of Baroque Trills 182
7. The So-called 'Corelli Clash' Resolved by the
Conventional Trill 1 85
8. Half-trills 185
9. Continuous Trills 188
10. The Ribattuta 190
1 1 . The Post-Baroque Trill 190

XXI. B (iv) : THE MORDENT

1. What the Name Mordent Implies 195

Single, Double and Continued Mordents

2. 195
3. The Inverted Mordent 196
4. The Position of Mordents 196
5.
Pre-Baroque Mordents 197
6.
Baroque Mordents 197
7. Diatonic and Chromatic Mordents 198
8. The Preparation of Mordents 200
9. The Speed of Mordents 200
10. The Termination of Mordents 201
11. The Post-Baroque Mordent 201

XXII. C (i) : PASSING NOTES AND C (ii) CHANGING NOTES

:

1. Which Ornaments are here Classed as Passing

Notes 203
2. The Passing Note Proper 203
3. The Tirata 203
4. Which Ornaments are here Classed as Changing
Notes 204
5. The Note of Anticipation 204
6. The Springer 205
7. The Groppo 205
8.
Post-Baroque Passing and Changing Notes 206

XXIIL C(iii): THE TURN

1. What the Name Turn Implies 207
2. The Accented Turn 208
3. The Unaccented Turn 209
4. Interpretation of Turns 210
11