Sentence examples for appoggiatura from inspiring English sources
noun
A type of musical ornament, falling on the beat, which often creates a suspension and subtracts for itself half the time value of the principal note which follows.
During the Renaissance and early Baroque, the appoggiatura was of moderate length, averaging one-third of the main note, and was more in the nature of a melodic than a harmonic ornament.
The most common sign for the appoggiatura was a small note indicating the precise pitch of the ornament but only implying by relative size its duration, which depended largely upon the context and was governed by broadly acknowledged conventions.
Moreover, in 19th-century practice, grace notes, including the appoggiatura, were increasingly performed before the beat, and it was to take several generations of pioneering in the history of performance practice before the stylistic significance of the appoggiatura in pre-19th-century music was once again appreciated and understood.
Because its purpose was mainly expressive, whether in purely melodic or harmonic terms, the typical appoggiatura in 17th- and 18th-century music occurred on the beat, rather than before it, "leaning" on the principal note, as suggested by the term's derivation.
The 19th-century tendency to notate the long appoggiatura in regular, rather than small, print foreshadowed the gradual abandonment of most embellishments, including the traditional symbol for the short appoggiatura, a small note with a slashed stem.
Musical jargon peppers the discussion: for readers who do not know their arpeggios from their appoggiaturas, parts of the book will be difficult to understand.But even for musical neophytes, the book has much to offer.
While his melodies are almost always modal (i.e., based not on the conventional Western diatonic scale but on the old Greek Phrygian and Dorian modes), his harmonies derive their often somewhat acid flavour from his fondness for "added" notes and unresolved appoggiaturas, or notes extraneous to the chord that are allowed to remain harmonically unresolved.
4. Ornaments, or graces (small melodic devices such as grace notes, appoggiaturas, trills, slides, tremolo, and slight deviations from standard pitch), may be used to embellish a melody.
Convention also accounts for the fact that appoggiaturas were not always written out in Baroque music, even where their performance was taken for granted, as in the final cadences of operatic recitatives.
Counterpoint is abandoned; expression arises from orchestral crescendos and diminuendos (anticipated by Jommelli), characteristic melodic effects such as sighing appoggiaturas (short ornamental notes that resolve into principal notes) and rocketing arpeggiated (broken) chords, and strong dynamic, thematic, and textural contrasts.
