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Appoggiatura (It., from appoggiare, ‘to lean’; Fr.: appoggiature; Ger.: Vorschlag).  

Michael Kennedy and Joyce Bourne Kennedy

The Oxford Dictionary of Music, Oxford University Press, 2012.

Leaning note. A grace note or species of ornament of which the exact

interpretation has differed in various periods. In the 18th cent. the appoggiatura
was often unwritten and left, e.g. in Handel and Mozart, to be inserted by the
singer. Operatic appoggiatura was regarded as obsolete until its revival in certain
operatic productions c.1960. Its harmonic application may be described as follows:
Properly an unprepared suspension (if such a contradictory term may be allowed)
whether it be shown in full-sized type as a part of the chord in which it
momentarily appears, or as a small note printed just before that chord. Having a
harmonic status it is not an ‘ornament’ in the same sense as, for instance, the
acciaccatura.

(a) With ordinary and dotted notes

The appoggiatura is as important melodically as the note on which it ‘leans’, from

which it takes normally half the time-value (two-thirds the time-value if the
supporting note is dotted).

(b) With tied notes.

When the appoggiatura ‘leans upon’ two tied notes, it normally takes the whole of
the time-value of the first of these to itself.

(c) With a chord.

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Acciaccatura (It., ‘crushed note’; Fr.: pincé étouffé; Ger.: Zusammenschlag).

Michael Kennedy and Joyce Bourne Kennedy

The Oxford Dictionary of Music, Oxford University Press, 2012.

A species of grace note, indicated by a small note with its stem crossed through,
viz.,

The principal note retains its accent and almost all its time-value. The auxiliary
note is theoretically timeless; it is just ‘crushed’ in as quickly as possible before
the principal note is heard.

Sometimes two or more small notes are shown before the principal notes, and
then they generally amount to acciaccatura (being in most cases performed on the
‘crushed-in’, or timeless and accentless, principle), although they have no strokes
through their tails, and although the names double or triple appoggiatura are
often given them.

Note a combination of acciaccatura with spread chord:

performed as though notated

Although the acciaccatura is theoretically timeless, it nevertheless must take a

fragment of time from somewhere. In the cases shown above (which may be
considered the normal ones) it takes it from the following note. In two other cases,
however, time is taken from the preceding note: when harmonically and in context
it is clearly attached to that note rather than the following note; and when, in pf
music, it appears in the bass followed by a chord in the left hand or in both
hands—the composer's intention being to increase harmonic richness by sounding
the bass note in a lower octave and then holding it by the pedal whilst the chord
is played. In this case the chord (as a whole) is to be heard on the beat, the
acciaccatura slightly preceding it. See also mordent.
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Slide
Alison Latham, The Oxford Companion to Music. Oxford University Press

1. (Fr.: glissade, port de voix; It.: portamento). In string playing, a method of

changing position between two unadjacent notes without lifting the finger from
the fingerboard. It was much used for expressive effect in the late 19th and
early 20th centuries, and often considerably abused. Ex. 1a shows the usual way
of indicating it, but Bach notated it as in Ex. 1b. Paganini introduced a virtuoso
version by executing chromatic scale passages, often in 3rds, with the same
finger or fingers. See portamento (1).

2. (Fr.: coulé, flatté; Ger.: Schleifer). An ornament common in the Baroque period,
consisting of two short notes rising by step to the main note. It may be
indicated by a sign or by small notes (see Ex. 2), and is found as late as
Beethoven's String Quartet op. 135. On keyboard instruments, the first note may
be required to be sustained (Ex. 3).

3. The tubing that, extended telescopically, allows the trombone and slide trumpet
(see trumpet (2)) to lengthen their air column, filling the gaps between notes of
the harmonic series.