The problem is, it is a long note and a simple ''shake/trill''
concisting of three notes (as one can surmise from Mersenne twisting
description) biginning from the main note, is not enough. It is a
long note and long notes invite something extra, something special.
The well known Lacrimae by JD also in some sources begins with an
ornamental sign on the third of its first chord (it is also a doted
crochet). Does the Bocquet's Allemande (1640<->1680) belongs to the
earlier performance tradition (lets call it Dowland-Mersenne) or to
the later one (say Brossard-Mouton)?
I think it may be a question of our very personal taste and stylistic
preference. Each style, to be rendered convincingly, needs to be
very, very familiarized with it. A quick, intensive research is not
enough. Sometime an answer to a tiny problem is somewhere between
lines, to be rediscovered through years, and most refinements are
permanently lost. Ornamentation is such a refinement.
But lets not forget about ouerseves. Here and Now! We can not only
keep reproducing the lost art, but also continue the ''school'' and
bring forward new refinements. In fact sometinme it can be the only
feasible thing, however some will insiste to call it HIP.
J
_______
Simple shake (simplified):
.4 1 2 2 2 2 2 2 (4 = crotchet, 2 = quaver, 1 = semiquaver)
---|-------------a--#e-e-|
-a-|-a-r-a-r-a-r'--a-----|
---|-a-------------------|
---|-a-------------------|
---|---------------------|
---|---------------------|
. ///a
Shake preceded by appogiatura (simplified):
.4 2 1 2 2 2 2 2 2 (4 = crotchet, 2 = quaver, 1 = semiquaver)
---|-----------a--#e-e-|
-a-|-r-a-r-a-r'--a-----|
---|-a-----------------|
---|-a-----------------|
---|-------------------|
---|-------------------|
. ///a
Mathias
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