CONTENTS

3. All Appoggiaturas take the Beat page 135

4. All Appoggiaturas are Joined to the Ensuing but

not to the Previous Note 135

5. The Early Baroque Appoggiatura 136
6. The Long Appoggiatura 137
7. The Function of the Long Appoggiatura Primarily
Harmonic *41

8. The Short Appoggiatura 142

9. Where to Introduce Unwritten Appoggiaturas 145
146
10. Appoggiaturas in Recitative
11. The Post-Baroque Appoggiatura 148

XV. A (ii): THE DOUBLE APPOGGIATURA

1. What Name Double Appoggiatura Implies
the 151

2. Varieties of Double Appoggiatura 151

3. The Post-Baroque Double Appoggiatura 152

XVI. A (iii) : THE SLIDE

1. What the Name
Slide Implies 1 53
2. Varieties of Slide 153
156
3. Post-Baroque Slides

XVII. A (iv) THE ACCIACCATURA

:

1. What the Name Acciaccatura Implies 157

2. The Simultaneous Acciaccatura 157
3. The Passing Acciaccatura 158
4. The Post-Baroque Acciaccatura 159

XVIII. A(v): THE PASSING APPOGGIATURA

1. What the Name Passing Appoggiatura Implies 161
2. Evidence for the Passing Appoggiatura 161
3.
Opposition to the Passing Appoggiatura 163

XIX. B(i): TREMOLO AND B(ii); VIBRATO

L What the Names Tremolo and Vibrato Imply 164
2. The Vocal Tremolo 164
3. Instrumental Tremolo 166
4. Vibrato on Instruments 167

XX, B(iii): THE TRILL

L What the Name Trill Implies 171
2.
Pre-Baroque and Early Baroque Trills 171
10